Review: DRACULA at Carlisle Theatre

The Players on High at the Carlisle Theatre present Richard Sharp’s Dracula, a retelling of the classic Gothic horror story by Bram Stoker. This is the perfect time of year for this chilling tale set in Victorian Europe, directed by Ashley Shade Byerts and Debra Cornelius. Come for an evening of haunting Entertainment One weekend only, October 15-19.

Each artistic and technical element of this production is carefully designed to heighten the emotion and suspense of the performance. From the gorgeous projections (designed by Ben and Kimberly Greenberg) to the sound (designed by Matt Hinton) to the lighting that plays with both light and shadow (designed by Noah Johnson) to the costumes and masks (designed by Elizabeth Angelozzi, Elizabeth “Elle” Drinks, and Chris Kapp with assistants Laurie Fitzgerald, Amanda Moore, and Wesley Owens), the audience is swept up in the sensations of the story. Occasionally the deep bass of the background music, while effective at creating and sustaining a mood, was too loud for the voices, particularly during the expository moments when Dr. Van Helsing is reading various journals and diaries.

The set (designed by Ashley Shade Byerts with set dressing and painting by Catie MO and Crystal Hand) and props (designed by Elyse Rinehart and Rick Sollman) are created to allow for quick, almost seamless changes. The use of a turntable in the center of the stage is brilliant for creating movement and changing perspectives.

The Nosferatu Ensemble is one of the most engaging and unique aspects of this production. Featuring Surag Gopi, Jason Kuntz, Edwin “Ed” MacNamara, Wesley Owens, and Matthew Rinehart, the Ensemble is an ever-present extension of Dracula, lurking in the shadows, silhouetted by the smoke and dusty-grey lighting, and thrown into stark relief by the flashes of lightning. Each ensemble member tells his own story through movement, creating a mesmerizing backdrop for the action of the production. They are completely engaged at every moment.

Russ Moore and Scarlet Nishimoto are enchanting as Jonathan Harker and Mina Murray (Harker). Moore infuses his character with a practical, down-to-earth sensibility, and when circumstances throw him into chaos, confusion, and fear, his mannerisms, expression, and movements reflect that inner turmoil. Nishimoto’s Mina is lively, adventurous, and passionate. Her performance in the second act as Mina meets and is enthralled by Dracula is powerful.

Jeremy Tuttle and Holly Hawthorn take on the roles of Dr. John Seward and Lucy Westenra, respectively. Tuttle’s Seward is a man of logic, attempting to comprehend the depths of the minds of his patients in the asylum. His interactions with Renfield are reminiscent of a scientist studying a particularly intriguing specimen. With Lucy’s illness and death, Seward becomes a man unmoored, adrift in a sea of emotions. Tuttle’s posture and expression speak to the deep pain Seward feels. At times, the emotion in his voice made it difficult to understand his words, but the underlying meaning was clear. Hawthorn does a wonderful job of transforming from the spirited, engaging, flirtatious Lucy of the beginning of the show, laughing and skipping around with Mina, to the fearful and weak Lucy being drained by Dracula, to the terrifyingly entrancing undead Lucy of the crypt. Her physicality really brings Lucy to life and makes each moment feel incredibly real.

Kevin Hand as Dracula, John Fitzgerald as Dr. Van Helsing, and R.J. Lesch as Renfield round out the cast. The mask he wears in the first scene, combined with the accent, made it difficult to catch all of Dracula’s dialogue in the Transylvania scene on opening night. Luckily, it was only an issue in this one scene, and the audience was able to pick up most of the important pieces from Jonathan Harker’s responses. Hand’s arresting eyes and charisma give his Dracula a suave, powerful, and captivating presence. Fitzgerald has the perfect gravitas and stage presence for the role of Dr. Van Helsing. His strong stance and voice lend an air of coiled tension to the character, making it feel as though he is always ready for action, despite being a scientist. Lesch’s performance as the psychiatric patient Renfield is one of this reviewer’s favorite performances of the evening. His philosophical ramblings interspersed with moments of stark lucidity are delightful, and his off-kilter interactions with each of the other characters are like a breath of fresh air.

Central Pennsylvania Awards - Live Stats

Best Musical - Top 3

1. THE PRODUCERS (Ephrata Performing Arts Center)

23.6% of votes

2. 13 THE MUSICAL (Hershey Area Playhouse)

13.4% of votes

3. SINGIN' IN THE RAIN (The Pennsylvania Playhouse)

5% of votes

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