BWW Reviews: Theatre Southwest's DRACULA is Resplendently Gothic and Inspired

Dracula is a name that invokes fear and terror in me. Not because it is a horror story, but because just about every adaptation of Bram Stoker's legendary Gothic novel gets it so wrong that I am left completely cold and empty. Astonishingly, this is not the case with Theatre Southwest's brilliant and opulent production of DRACULA, written by Steven Dietz and directed by Ananka Kohnitz.

Steven Dietz, one of America's most produced playwrights, is probably the first writer who has adapted the work that actually enjoyed the story as Bram Stoker wrote it. He doesn't contrive any of the plot points or attempt to improve on the plot in any way. Instead, he crafts a decidedly faithful adaptation that plays beautifully on the stage. Fans of the novel will rejoice at Steven Dietz's accuracy, while fans of the various film adaptations will be surprised at some of the "differences" they will notice in the story.

Ananka Kohnitz's direction of Steven Dietz's play marvelously mesmerizes and enchants. She makes some bold choices in her staging that all work magnificently. For example, she uses Dracula's Brides, the Vixens, as atmospheric set dressings for a majority of the show. Likewise, she keeps her Renfield on stage in his cell for the entire performance. These figures add to the phenomenal images she creates in her staging and allow for seamless transitions between scenes. Likewise, their constant presence is never distracting, but sumptuously enriching. Moreover, Ananka Kohnitz has coached her cast to act and react with honesty and sincerity. It is easy to chew scenery and deliver entirely overdone and overwrought performances with material such as this, but her cast makes their emotions and actions palpably realistic.

Tyrrell Woolbert wonderfully portrays the intellectually strong Mina Murray. She breathes fascinating and rich life into the heroine, engaging the audience with her desire to learn and understand what occurred in Transylvania between her fiancé, Jonathan Harker, and Count Dracula. Tyrrell Woolbert makes Mina's terror tangible, allowing her character's blood curdling understanding of what's occurring to unnerve and captivate the audience.

As Jonathan Harker, Bryan Maynard is fantastically natural and profoundly relatable. The character captures our hearts and emotions by believably being an average man. Bryan Maynard excels in showcasing how his travels into the Carpathian Mountains as a simple lawyer's clerk are almost mundane. Yet, as we all know going into the play, this journey changes him and Bryan Maynard brings out the remarkable shift in Jonathan's characterization. Furthermore, Bryan Maynard takes his Jonathan Harker on a gradual arc, growing more intrepid as the plot progresses.

Lucy Westenra, as played by Autumn Woods, is beautiful and superficial-the idealized Victorian woman. She delights over having multiple suitors and being unable to determine which one she loves the best. Autumn Woods displays a true knowledge of her body by crafting a character that is vivaciously sensuous and beguiling. Yet, once she is taken over by Dracula and becomes a vampire herself, she becomes frighteningly powerful and perfectly intimidating while maintaining a sensually alluring air. Autumn Woods quickly becomes everything that would strike fear into the hearts of Victorian England, and enthralls the audience with her compelling performance.

John Zipay delivers a stirring and stellar performance as Renfield. He opens the show with a poignant and eccentrically enchanting prologue before being placed into his cell. From the beginning of the play until the end, John Zipay's Renfield is intriguingly peculiar and odd. It is clear why he would be labeled mad by the standards of England society in 1897; however, he doesn't over do this madness. Instead, he zealously creates a character that is more misunderstood than truly insane.

Dracula, played both by Scott McWhirter and John Stevens, is a formidable and terrifying foe. Scott McWhirter jumped into the role of Young Dracula five days before the play opened and does an incredible job with the monster. He exudes charm in his mannerisms and is pristinely brooding as well. John Stevens' Old Dracula is creepily statuesque, moving with a more frail rigidity and an eerily haunting countenance.

Sam Martinez's Dr. Seward is adroitly loving of Lucy and consummately professional in his work. Sam Martinez portrays a man with a large heart. He seeks to remedy his patients in the asylum to the best of his ability and is willing do and risk anything for the companionship and love of Lucy.

Van Helsing, played by Kevin Bray, is sagely heroic. It is clear he has a deep understanding of what London is up against, and he is willing to share his expertise to save as many lives as possible.

Liz King and Shannon Grave are fantastic as the Vixens. They discomfort the audience with their fearsome visage. Yet, most notably and interestingly they constantly and appropriately react to the action of the play when on stage.

Matt Elliot's Attendant and Julie Oliver's doddering Maid and deeply faithful Old Woman are all well played as well.

Set Design by Anaka Kohnitz gorgeously captures the Gothic look and feel we associate with the tale of Dracula. The striking black walls with white and red accents are resplendently reminiscent of Nosferatu, while being wholly original and beautiful.

Lighting Design by J. Cameron Cooper is phenomenally atmospheric and moody. Color is immaculately and faultlessly used to highlight the tone and ambience of the production with precision.

Sound Design by Jim Allman and Ananka Kohnitz is astonishing. There is a constant prevailing underscored throughout the entire production that keeps the audience on The Edge of their seats and invested in the performances on the stage. Moreover, every element of the design is perfectly timed to the show's action, meaning this is one of the most complicated designs in the history of theatre or that the cast has been coached to time their performances to the thrilling score and sound effects.

Costume Design by Ananka Kohnitz is wondrously gothic and truly lovely. Every character is clothed perfectly with pieces that are telling of personality. Likewise, color choices in the design are well thought out.

Theatre Southwest's production of DRACULA is nothing short of inspired. Ananka Kohnitz's direction and vision presents a sumptuous barrage of sensational imagery and sound that flawlessly stimulates and engages audiences. This DRACULA is a splendid adaptation of the source material that will endlessly entertain audiences and leave them wanting more.

DRACULA runs through June 22, 2013 at Theatre Southwest, 8944-A Clarkcrest Street, Houston. For tickets and more information, please visit http://www.theatresouthwest.org or call (713) 661 - 9505.

All photos courtesy of Ananka Kohnitz.

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