Review: OUT LOUD Theatre Brings Intense and Stunning DRACULA to Life

Storytelling is something that, fundamentally, defies definition. Who is to say how a story should best be told? How many different ways have stories been passed down over the centuries? Whatever our own preferences are for storytelling forms and devices, there are countless others, often used in successful ways. Now in its fourth season, OUT LOUD Theatre has at times defied conventional definitions of storytelling and developed their own unique style. With its spectacular use of that style, their current production of Dracula is a gorgeous example of the company's storytelling prowess, wrapped in a unique and stunning piece of theatrical art.

Certainly, Bram Stoker's Dracula has been adapted countless times, in movies, books and television shows. The plot needs little introduction. We find ourselves in Transylvania, where Count Dracula has welcomed a young man into her castle to help her buy a new home. Our young man, Jonathan Harker, quickly discovers the terrors awaiting anyone who enters Dracula's domain, which leads him into a downward spiral of madness. Eventually, Jonathan is freed and reunited with his fiancée, Mina, who has, unfortunately for her, also become an obsession of the titular Count.

This particular version of the tale is adapted by OUT LOUD Artistic Director Kira Hawkridge, along with David Nando Rodgers. To tell a tale as oft-told and well known as this in a new and different way is a tall order, but they have accomplished that feat. And to be truthful, it will not be everyone's cup of blood...or...tea. One audience member even commented after it was over, "There was no story," which is just not factually true. If by "story" they meant "long scenes filled with lots of dialogue and conversation," then yes, there is not a lot of that particular kind of "story." In its place is something different, something that challenges the audience and their expectations.

Hawkridge and Rodgers are asking the audience to embrace and experience a different kind of Dracula adaptation. One that, while at times violent, scary and sexy, doesn't rely solely on blood and violence. In that area, it's actually quite restrained, there are only two times when blood makes an appearance, and both are handled beautifully. There is no blood and gore just for the sake of having blood and gore, a decision to be applauded. Instead, this adaptation takes the audience far deeper into the psychological states of the characters, delving into the turmoil, the fear and the passions in their minds and hearts. When there is suffering, or any other feeling, it is explored and expressed in numerous physical and emotional ways, nothing is ever just skin deep.

Having said that, there are physical wounds suffered, especially during the long scenes of Jonathan's torture, and one weak spot in this adaptation is just how long those scenes are. There is an awful lot of Harker being tortured, violated, raped, molested and manhandled by Dracula's minions, known as Vixens in this version. On the one hand, the lengthy scenes serve to make his suffering even more real and likely make the audience as uncomfortable as he is. On the other, it would be nice to get less of the vampire orgies and strobe-lit disco, and more of the characters who don't really get an introduction. Van Helsing and Lucy, in particular, appear with little exposition or explanation as to who they are or what they're doing there. It would be great to see more of them earlier on and get to know them a bit more.

Having said that, there are many things to praise and applaud in this production, including OUT LOUD's impressive world building and complete commitment by everyone involved to the world they've created. It's clear that every member of the company is not just on the same page but is one hundred percent dedicated to this shared vision. At the same time, Hawkdridge and company make sure that everything that happens on stage and around it fits into that world and vision, always in a clear and impactful way. While there are moments of unexpected and unusual forms of storytelling, and an unwavering reliance on the physical and nonverbal, everything that happens unmistakably tells or supports the story, moving the story forward and never distracting from it.

That is just one of the reasons why, with this production, Hawkridge and company again find impressive success when it comes to the physicality and movement that has been such a big part of their work. That success is also due to the decision to emphasize the physical and nonverbal to the near elimination of dialogue, which is a risky proposition with today's audiences. It's worth noting that they have excelled and succeeded just as much with dialogue-heavy shows that relied far less on the physical. Whichever end of that spectrum they're on, risk-taking and fearlessness are ever-present aspects of what Hawkride brings to her company and its work. Along with those qualities is what appears to be her very successful formula: 1) make a clear choice and have a clear vision, 2) make that choice/vision something bold, ambitious, gutsy or all three, 3) then totally go for it. Young directors should take note.

All of those qualities are also found in Hawkridge's company of performers. Here, the title role is played by Sarah Leach in what is undeniably her finest performance to date. She vanishes into the role, becoming almost unrecognizable at times as she creates a fully realized and complex version of the most famous leader of the undead. Her Dracula is imposing emotionally and physically, towering above everyone else on stage and filling the entire space with her presence. Her multi-layered vampire will believably tend to your wound gently in one moment and threaten to literally consume you in the next, while maintaining a combination of passion, femininity, power and malevolence.

An equally committed and intense performance is given by Michael Puppi as Jonathan Harker. As noted, much of the play features his character being tortured and Puppi is up to the challenge. His suffering and fear feel all too real, which is a credit to the actor's considerable talents. Equally real is his deeply powerful depiction of Harker's descent into madness and subsequent recovery, if it can even be called that. Along with some of his cast-mates, Puppi is asked to do much of this heavy lifting with little to no dialogue and has impressive success at that as well.

Given even less dialogue is David Sackal as Van Helsing, perhaps an even more well-known character in the story than Harker is. Sackal doesn't need to do much talking as he has no problem conveying Van Helsing's thoughts and feelings through the physicality of his performance. He's nearly Leach's equal in stature and presence and their fight sequence is a breathless and spectacular piece of stage combat. It's also a glimpse into a different take on the relationship, with Dracula and Van Helsing as lovers rather than simply predator and prey. The smoldering chemistry between Leach and Sackal makes it entirely believable that the two might be far more than just mortal enemies.

Leach has an equally electric chemistry with Ottavia De Luca as Mina Harker, the other object of Dracula's affection. De Luca actually has a fantastic chemistry with everyone in the cast, especially Puppi as her fiancé, with whom she shares some outstanding moments. Even when she is simply sitting silently by herself, responding to something, she brings powerful emotion and truth to the character. She makes the audience want to watch her, sympathize with her, root for her and fear for her. It's a bravura performance and will hopefully be the first of more lead roles for De Luca, who has been primarily an ensemble member in previous productions.

Rounding out the speaking roles is Paige Barry, who is arguably underused as Lucy. She does have a brilliant sequence when she encounters first Dracula and then Van Helsing, and some nice moments earlier between her and Mina. After her unfortunate experience with Van Helsing, though, she stays literally on the periphery, prowling the space silently for the rest of the play, becoming more of a presence than a character. She gives a committed performance no matter what or how little she's doing but audience members familiar with her work can't help but feel that more of Barry on stage is always better than less.

While there are no other "speaking" roles, there are quite a few other performers who hiss, moan and growl. Clad in bondage gear and makeup, the Vixens are a little bit goth, a little bit punk rock and occasionally unrecognizable (honestly had no idea it was Erika Rethorn until rereading the cast list the next day). Every one of them is impressively committed to the performance and game for whatever is asked of them. Only once does their presence or portrayal feel gimmicky (glowing red teeth?) and their behavior entirely fits in the context of the story and the atmosphere they help to create. They don't necessarily stand out individually (except for Kerry Giorgi and Rico Lanni, you'll have to see it to understand why) but they manage to work well together as any good ensemble does.

It's not just the ensemble of actors who are working so well here, it's everyone involved in every aspect of the production. It is, in this reviewer's mind, one of OUT LOUD's top three shows and the best since last season's Rhinoceros. It's also, according to the company's website, completely sold out. You are strongly advised to keep an eye out, though, for added performances or tickets that become available for shows that are already scheduled. Once you have felt the embrace of this particular vampire, whether you relax into it or run away screaming, you will never forget its bite.

Warning: Dracula contains graphic depictions of violence and sexual situations. Mature audiences only.

Although the run of Dracula at OUT LOUD Theatre is currently sold out, check out the company's website at www.outloudtheatre.org for information on any additional shows or tickets, if they become available. Currently scheduled shows run through May 27th. Shows are on Friday and Saturday night at 7:30pm except for the final weekend, when the shows are on Thursday and Friday night at 7:30pm. All tickets to all shows are FREE.

Pictured: Sarah Leach and David Sackal. Photo by Piquant Photo.

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