“Dracula” bites, draws praise from crowd
Theater Review
Catherine Roberts, Variety Editor
photo: Courtesy of Tulsa Ballet
Vampire-mania made its way onto the stage at the Tulsa Performing Arts Center’s Chapman Auditorium this weekend as the Tulsa Ballet staged the Oklahoma premier of “Dracula.”
Ordinarily, I object when screen or stage adaptations of books do not follow the book’s plot.
In the case of the ballet, however, I made an exception.
Choreographer Ben Stevenson’s “Dracula” is staged in three acts. In the first, we see Dracula in his crypt, lording over all of his vampire wives. His henchman, Renfield, brings a new victim, a beautiful village girl, and we watch as Dracula turns her into a vampire.
The second act gives a glimpse into life in a Transylvanian village, nestled in the shadow of Dracula’s castle. A celebration of the birthday of the innkeeper’s daughter Svetlana is interrupted when Renfield kidnaps her for Dracula.
In the third act, Svetlana’s lover rescues her from the fate that Dracula has planned and destroys the monster in the process.
As usual for this world-class company, the dancing was superb.
The production’s striking set designs and costuming heightened the creepy effect.
I was confused at first by the choreographer’s choice to give Dracula’s wives an awkward default arm position that looked more appropriate for mummies than for vampires. As the story progressed, however, and the dancers flew not only across the stage but also through the air, it was difficult to focus on anything else.
Other pens will expound on the talents of the principal cast of the Tulsa Ballet, all of whom are a credit to the art.
I have always thought, however, that one of Tulsa Ballet’s greatest strengths is its corps de ballet, and this weekend’s show was no disappointment.
In identical blonde wigs and flowing white dresses, Dracula’s wives were perfectly in sync, so much so that one had the impression of watching just one dancer copied 20 times over on stage.
The most exciting part of the show was the Transylvanian villagers’ dance in the second act. The wooden staff tricks performed by the village men were just as impressive as any of the principals’ choreography.
In comparison with these fun and energetic corps scenes, the pas de duex between Svetlana and Frederick (Karina Gonzalez and Wang Yi), though beautiful, tended to drag on.
All that said, it was a little disappointing that Dracula, played on Friday by Alfonso Martín, did not do much more than swoop around in his magnificent velvet cape. Martín, who always plays his character with the skill of an experienced actor, infused his few solo parts with a crazed sensuality that should have gotten more stage time.
The Tulsa Ballet’s performances never disappoint, and “Dracula” was no exception. Upcoming performances include “The Nutcracker” and “The Sleeping Beauty,” and I predict that they will continue in the standard of excellence, though hopefully not the eerie atmosphere, set by the season’s opener, “Dracula."
Do Some Talkin’ Back
Disclaimer
The opinions expressed in all Talkback Forums are those of individual writers and not of The Collegian or its staff. The Collegian reserves the right to remove posts as it sees fit.
^ Top of Page