Review: DRACULA: A FEMINIST REVENGE FANTASY at Santa Fe Playhouse

Dracula: A Feminist Revenge Fantasy by Kate Hamill

Guest Critic: Alex Kutsko

Remember last year when the biggest argument on social media for women was, “would you rather be alone in the woods with a man or a bear” and the majority picked the bear?

Dracula: A Feminist Revenge Fantasy by Kate Hamill at the Santa Fe Playhouse provides insightful commentary on the nature of predators in a post “me-too” world through a retelling of Bram Stoker’s Dracula with a refocus that frames women at the center of the story.

The play follows Mina Harker (Hazel King) and Van Helsing (Breshaun-Birene Joyner) as they attempt to regain power and control over the vampire Count Dracula (Geoffrey Pomeroy) after Harker’s husband Jonathan (Jay Hobson) and childhood best riend Lucy (Chloe Carson) are taken and controlled by the count and his many followers/wives in Transylvania. Other factors in the story include Doctor George Seward (Marc Sinoway), the head physician of a “madhouse” who watches over a tortured victim of Dracula, Renfield (Karen Ryan). The play follows themes of power, toxic masculinity, and control.

Kudos to director Anna Hogan for her continuous originality in stage pictures and immersive theater. While we did not sit in the “splash-zone” onstage, seeing the connection of the audience to the stage combat and horror allows for a deeper effect of the story’s violence. It was an interesting choice to set the play in the modern day, considering how far we regress each day in regard to women’s rights. The change made for a few awkward moments such as having “letters” arrive via text. In addition, the period costumes were beautiful (hats off to Costume Designer Joseph S. Blaha) but confusing at times – are we in the present or the past?

The other technical elements add to the horror and fantasynof the tale: with spectacular lighting design from Zac Goin and sound design from Saibi Khalsa and Cullen Elliott. Another amazing effect was the onstage rain which added perfectly to scenic design by Craig Napolielo which had a focal point of a woman’s body on the back wall; very fitting. Additional props to the connection of the stage combat by Abby Wolff and intimacy direction by Zoe Burke, two very essential facets of this show which were executed beautifully into the direction of the story. 

The ensemble in this show is extremely well rounded. Hazel King is a powerhouse who barely leaves the stage and provides so much compassion to the world around her as well as fierce-witty dialogue. Her connection with Breshaun-Birene Joyner allows for the deeper meaning of the show to develop, while Joyner provides most of the dark comedy/gallows humor of the show and captivates the audience with the strength of her character.

Other standout performances include Ella Raymont and Mo Beatty as sisters Drusilla and Marilla, who add deeper commentary about the cycle of abuse through a beautiful and supernatural presence that takes over the stage. Karen Ryan as Renfield provides a deep tragedy to the story and a captivating performance that elicits empathy for the character’s circumstances through many heartbreaking monologues. Chloe Carson as Lucy Westernra, Harker’s childhood Best Friend, is especially impressive when her character falls under Dracula’s spell. Last but not least is Geoffrey Pomeroy as Dracula, who is equal parts terrifying and charming and provides a power over the cast that creates the thread holding the story together. 

When watching this show and continuing to ponder on the subject matter I keep returning to the question: “would you rather be left alone in the woods with a man or a bear” and how most women choose a bear. Kate Hamill’s writing is obviously not the epitome of feminism in modern media, but it provides amazing insight into the nature of predators in our post Me Too world. While the show includes typical horror elements like gore, monsters, and the supernatural, it includes the horrors of trauma, abuse, and the effects of said monsters in the real world. I continue to applaud the Santa Fe Playhouse for their creativity and innovative theatrical experiences that mirror the real problems of today’s society.