BIG Live’s balletic production of Dracula is, in a word, captivating.
It is dramatic, haunting and sensual.
In 11 scenes through two acts, the production reimagines Bram Stoker’s 1897 Gothic horror story about desire, torment and immortality with passion and conviction.
With no beg pardons, the performances are pointed and electrifying.
It is the tale of Vlad the Impaler.
He is a formidable warrior, who after defeating an army of enemies, is embittered when the church he fought for kills his wife, on suspicion of his lack of loyalty.
Consumed by despair and rage, he renounces his faith, sells his soul and transforms into a blood sucking vampire.
Two centuries on, after a wedding in England, groom Jonathan Harker’s employer presents him and his bride Mina with a honeymoon trip to a Transylvanian castle.
Home to Count Dracula, Jonathan’s boss is looking to secure a business deal with the mysterious Prince of Darkness.
But Jonathan and Mina get far more than they bargained for after they are visited in their bedroom by four ghostly servants who torment the couple.
In short, when – subsequently – Drac puts the bite on Jonathan, there will be hell to pay.
With high leaps aplenty and a sullen stare, Ervin Zagidullin owns the role of the count who yearns for blood because, try as he might, he can’t fight his urges.
He dominates the stage every time he appears.
What struck me too was the innocence and vulnerability Abbey Hansen brings to her portrayal of Mina in a flawless showing, full of merit.
She is as lithe and agile as they come, frequently doubled over in the hands of Zagidullin and her protective husband Jonathan.
As the latter, Joel Burke displays the full range of his considerable ability, dextrous and driven. Speed, strength and agility are among his calling cards.
And then we come to the bravura efforts of the four ghosts, as inhabited by Mia Zanardo, Giselle Osborne, Alyssa Park and Chelsea Potter.
From their breathtaking arrival, I couldn’t take my eyes off them.
They do, indeed, have an otherworldly presence, aided by spellbinding, white, flowing costuming, white wigs and make up.
In fact, the costume design from Sophia Drakos, Fiona Holley and Jennifer Burke is particularly appealing, Drac’s black and deep red ensemble another showstopper.
Together, with the talented company dancers, the principals bring life anew to an age-old story, aided by outstanding choreography from Joel Burke.
Movement is fluid and florid.
The production is unquestionably strengthened by a pulsating and, at times, sensitive score from Jason Fernandez and Toby Alexander.
It is driven by works from Bach, Rachmaninov, Mozart, Liszt, Mussorgsky, Mendelssohn, Saint-Saens and Debussy.
The set designs by Martin Thomas and contributing set designer Eric Luchen are striking.
I speak of the darkened forest where we first encounter Vlad, the bright wedding staging and the stained-glass window dominated castle, complete with bell tower.
That is not to overlook the central bed setting in the marital chamber at the castle.
The lighting design by Verity Hampson is most creative and evocative, notably when she imbues the piece with chilling, blood-soaked colourisation.
BIG Live’s Dracula is something special, a thrilling encounter with the Prince of Darkness, full of bite and spectacle.
Two hours including interval, it is on at Her Majesty’s Theatre in Melbourne until 25th October.
There are also shows at Sydney State Theatre between 22nd and 27th September and a longer season at the Capitol Theatre from 7th to 29th November, 2026.
For bookings, go to https://bigliveco.com
Review by Alex First
