DRACULA , A FEMINIST REVENGE FANTASY . . . REALLY – Written by Kate Hamill; Directed by Carolyn Howarth. Produced by The Arvada Center (6901 Wadsworth Boulevard, Arvada) through November 3rd. Tickets available at 720-898-7200 or ArvadaCenter.org.
Kate Hamill does not let any grass grow under her feet. In addition to the plays she has in publication, she has at least five or six other projects in various stages of completion. She continues to act in her own plays and those of other people and is also currently working on a movie script. Of her considerable catalog featuring original works and adaptations (with a twist) of classic novels, only four (soon to be five with an upcoming November production of LITTLE WOMEN) have been done along the Front Range. Once you’ve seen a Hamill version of anything, you’re spoiled for any other.
DRACULA brings a whole new bent to the original Bram Stoker manuscript. Starting off with the traditional pursuit of feminine victims and subjugation of all to his will, with the arrival of an angry (and pregnant) Mina Harker and a ferocious Doctor Van Helsing, vampire hunter extraordinaire, the pendulum swings. Watching the forces of evil run smack into a wall of resistance not experienced before brings whoops of support from the female audience members.
That description, however, makes the whole thing sound deadly serious. This script and this production walk the tightrope between horror and hilarity. There is a lot of blood on the floor and all over costumes at the end of the day – but getting there has been a royal hoot. Director Howarth has caught exactly the right tone of implied danger and sly amusement. It seems the actors are harboring a chuckle in the back of their throat and saying to themselves, “Isn’t this the goofiest thing we’ve ever done and aren’t we having fun doing it!!” Watching Dracula (Geoffrey Kent) parading around in his new white suit as though he’s warming up for a runway is too precious. To watch Dracula’s two female minions (Mel Schaffer and Katrina Stelk) walk around with blood all over their clothes after having “dinner” just makes you groan and laugh at the same time. It’s so over the top.
Prentiss Benjamin brings a prestigious ferocity to the usually male character of Dr. Van Helsing. She is the Sundance Kid, an Easy Rider, Thelma AND Louise, and Mad Max’s Mama all rolled into one. She and her never-ending supply of silver dust and wooden stakes are not to be discounted as “just a woman.” Once she arrives, whether he wants to admit it or not, Dracula knows he has met his match. It’s only a matter of time until one of them turns to dust. No holds barred in their final match-up.
Everyone in this cast brings their A game to the party. Jessica Austgen is a pitiful but hopeful Renfield in her partial strait jacket and her sugar drawings. Her sarcasm runs rampant, but her longing for acceptance is touching. Jessica was born a sprite, a wisp of light, barely managing connection with the floor at times. What a joy to watch!
Annie Barbour and Noelia Antweiler enjoy the ease of old friends with no secrets as Mina and Lucy. Unfortunately, Lucy’s passionate nature and unfulfilled potential cause her to make choices that lead her down a frightening path. Noelia exhibits an unusual talent that adds an exciting colorful scene to the usual black and white of the evening. Lucy is all for fun and pleasure; Mina is serious and growing matronly. That too takes an exciting turn as she realizes no one else is going to save her; she’s got to do it herself. Both women excel and move comfortably in the changes of character the roles demand.
As the two overwhelmed men in the production, Lance Rasmussen is overcome in his role as Jonathan Harker, Mina’s husband and Dracula’s breakfast. He was not born with the backbone of a vampire hunter and succumbs too easily to have lasted as Mina the Fierce’s husband. Gareth Saxe (who, may I say, gets better looking with every year that goes by) does his best with the challenge facing him as Dr. George Seward. As hard as he tries to hang on to the science he depends on, it eventually dissolves with the supernatural happenings for which he can find no explanation. To watch him finally give in to the mystery he’s living is like watching the world move off its axis.
As enjoyable as all this work is in the watching, the night belongs to Dracula in the persona of Geoffrey Kent. Cocky, superior, confident, gruesome, evil but lovable, he’s like a four year old with a new toy. He never questions that he is indestructible and will ultimately get everything he wants . . . yet takes delighted pleasure when it actually happens. Then he will turn off the charm and do something so utterly cruel and heinous that you can’t believe it’s the same actor. No dusty coffins for this Dracula, no gloomy black cloaks and fangs. He’s like a snowflake in a sunbeam. No wonder he gets everything he wants. Almost.
Such a beautiful environment has been created for all these creepy and righteous characters to play in. Tina Anderson’s glorious curtain draped palace is a wonder to behold and plays against type from the usual Dracula digs. Clare Henkel’s costumes add to the lightened look of this dark tale with whites (to show the blood) and grimy coveralls for the already-gone minions. Van Helsing’s leathers and holsters bring to mind a female Indiana Jones. The whole production is
bathed in light and love. And blood.
A WOW factor of 9!!