Review: DRACULA Brings Halloween Chills to York Little Theatre

Okay. DRACULA. We all know it. We all love it. (You don't like vampires? That's become un-American. Seriously.) Bram Stoker's Victorian English novel has been the source, direct or not, of virtually everything vampiric in our media. Since the original Universal film of 1931 - we're not talking Murnau's NOSFERATU, which is a thing unto itself - there have been uncounted other Drac and miscellaneous vampire movies. There's an equally large number of plays, although the first stage effort was in 1924 by Hamilton Deane. (The 1927 Broadway version starred a gentleman named Bela Lugosi. So, of course, did the film.)

William McNulty, Artist in Residence at Actors Theatre of Louisville, a charming town not usually under the spell of vampires, felt a bit more than a decade ago that Deane's classic version could be updated, and that he was the artist to do it. The result is a now regularly-produced version of the original that holds up well against the many other competitive efforts on the theatrical market. McNulty's version is currently on stage in the black box Studio Theatre at York Little Theatre, where its seasonal theme is greatly appreciated by the audiences.

Director Rene Staub has brought style to the black box setting, with a more than minimal set of his own design, including a particularly fine cemetery setting and an elaborate set and props for Dr. Thomas Seward's (Tony Crerand, in a particularly meaty part) study. Ken Bruggeman is an equally stylish Count Dracula, not bedecked in white tie and medals, but in mittel-European finery and a head of flowing dark hair, giving Dracula both ethnic flavor and a period feel. He's suave, he's charming, and he's sinister enough for anyone.

Dracula's nemesis, Dr. Abram Van Helsing, is played by Jack Hartman, who, true to Dracula form, is all brains and nervous energy, with a Latin prayer book to hand. While the rest of the story, in its bare bones form, is there (many of the secondary characters of the novel are not in the play, and Jonathan Harker is a secondary character in the play), the center of this is the duel between Dracula and Van Helsing, with Seward's role essentially bringing in Van Helsing and then seconding the Continental vampire scholar. As a battle of wits and weapons in the second act, Bruggeman and Hartman give fine, properly Gothic performances, just enough over the top to be scary, and not so far over the top as to become funny. If there's one thing this production isn't, it's funny - except in the characters of vampire-slave, mental patient Renfield (Philip Rearich) and his handler at the asylum, Briggs (Joel Persing). While they're not overtly funny except when Renfield's in his finest form, the subtle humor of their relationship provides a necessary contrast to the drama, and, yes, the horror, of the production.

The beautiful victim of Dracula's fiendish attentions is Lucy Westphal (we're not following the book, should you know it), played by Rachel Arthur. Fortunately, Arthur doesn't play victim - her Lucy is long-suffering, but with an attitude. Even when Dracula is controlling her mind, this Lucy is a fighter, and Arthur makes that fighting spirit clear.

This production has some particularly nice effects for a black box production. The opening narration is accompanied by projections on the black box floor that do enliven the storytelling, and other effects are equally effective, both in the cemetery and in Dracula's crypt.

It's the right play at the right time of year, and this is a delightfully spooky production, complete with little touches to make squeamish types squirm throughout. There are no ill-advised cheap flying bat effects, and Bruggeman doesn't need such effects to be thoroughly chilling on his own.

There's death, neck-biting, vampire-staking, and all of the other usual violence that a vampire tale requires, so it may be a little too scary for very young 'uns who haven't been exposed to the gory side of vampires yet. While the staking all takes place with vampires in their coffins, it may still be a bit too realistic for comfort for that very young set. Renfield's verminous diet, on the other hand, will probably be funnier to the smaller audience than to some adults. But it's Halloween, folks, so let's give it a little slack.

At YLT through November 1, and a perfect Halloween treat. For tickets and information, visit YLT.org.

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