A Bloodless Dracula

Dracula

directed by Bill Tomlinson

at the Eliot House Library

through Decmber 11

Given that everyone within flying distance of Transylvania is now familiar with at least the basic outline of the legendary Dracula tale, any reinterpretation of this horror classic could only succeed by either following along in the campy B-movie tradition and playing it up for humor value, or by employing the freakish in a fresh attempt to scare a jaded audience.

The Eliot House production of Dracula is so cliche-ridden one might almost believe it to be intentionally ridiculous, were it not for the earnest seriousness of the actors. This version of the Dracula story only loosely follows the events chronicled in the Bram Stoker novel. Rather, it is a hodgepodge of every vampire tale and succeeds at none.

At first, it might be difficult to see what makes this production so unintentionally--well, funny. The Eliot House library adds a nice sense of gothic mystery to the production. The technical crew--which handles sudden diappearances, appearances, smashing mirrors, and even a stake through the heart with clever theatrical parlor tricks--deserves special mention. If only the rest of the production had been as clever.

Yoseph Choi embodies Count Dracula, with his gaunt pale face and glittering eyes. Gus Gardner is also particularly convincing as the suspicious Professor Van Helsing, called upon by Dr. Seward to examine his "anemic" daughter Mina. Gardner's Van Helsing lacks the grisly humor of some incarnations, yet he makes up for this in the sharp intentness he brings to his confrontations with his Transylvanian neighbor.

Backing up the two lead adversaries, however, is an assorted array of comically drawn secondary characters. The best of these is Andrew Torrance, who as the male nurse at the Sanatorium is delightfully sane in the midst of chaos. With his mouse Cuthbert, he has some of the funniest moments in the play.

Unfortunately, the other comic stars of this production are inadvertantly so. Monica Ferrell as Mina and Chris Cocks as her fiance John are so excrutiatingly bad, they are wonderful. Granted, it would be hard to overcome the handicap of their particular roles, bland characters who speak tritely at best. Yet John's sullen sneer is so completely out of place, and Mina's cooing sweetness rings false. Ferrell. only comes to life when she sheds the veneer of pure innocent for that of vampire seductress.

Most of the blame for this production ultimately lies with director Bill Tomlinson. Why he attempted to do a rendition of a Dracula this hackneyed will remain a mystery, especially when a campy approach still lay open to him. Even had the Royal Shakespeare Company made a serious attempt to perform this script, the result could be nothing less than hysterical.