“Ballet at its darkest” is etched upon every promotional material, poster, and programme for Big Live’s re-imagining of Dracula. Unfortunately, the production does not fulfil its claim. Despite its gothic subject matter, it never establishes the atmosphere of ominous dread that its marketing so extensively promised. The creative vision of co-founders Joel Burke and Khalid Tarabay is evident throughout, and the production is certainly not lacking in ambition, but many of its strongest ideas struggle to realise their full potential on stage. That said, the twist at the end is imaginative.
The Ghosts, described in the programme as “the spectral remnants of Dracula’s past victims,” are phenomenal. Their every appearance adds texture and intrigue to the stage. Their precision and synchronicity as an ensemble, combined with thoughtful costume design and fluid choreography, makes them consistently captivating to watch. It was in their scenes that the production comes closest to realising the darkness promised by its marketing — their presence carries a threat and unease that is largely absent elsewhere.
Abby Hansen and Joel Burke — who play Mina and Jonathan — are other stand-out performers. Their partnership provides the emotional core of the production, and whether together or apart, they both maintain a clarity of intention that makes their scenes similarly easy to invest in.
For a ballet titled Dracula, Dracula’s character is the weakest element of the show. Ervin Zagidullin’s performance throughout is technically impressive, yet this skillful choreography does very little to reveal the intricacies of Dracula’s character or meaningfully further the story. The audience laughed when Dracula first entered the stage — not ideal when this was supposed to be the villain and not the comedic relief. Much of this reaction seemed to stem from the decision to accompany his entrance with Bach’s Toccata and Fugue in D Minor. As perhaps the most recognisable piece of villain-associated music in popular culture, its use meant that Dracula’s introduction diffused any sense of tension before it had the chance to take hold.
When music does so much of the storytelling in ballet, the production would benefit from a live orchestra, as the use of pre-recorded classical pieces creates a noticeable disconnect. Without the immediacy and energy of live performance, the music fails to feel emotionally charged, instead feeling somewhat lifeless and inert. The musical choices themselves — acclaimed pieces by the likes of Bach, Debussy, Mozart and Rachmaninov — also prove slightly dubious. Rather than kindling emotion and serving the narrative, the score often feels borrowed, preventing the production from creating a distinctive dramatic world for itself. Both the lighting and costume design, however, are truly excellent.
If you’re after an evening of titillating entertainment, and to immerse yourself in evocatively decorated and lit sets whilst watching incredibly talented performers, Big Live’s Dracula is worth the watch. But if you’re after “ballet at its darkest,” this might not be the show for you.
Image by Big Live, provided as press material.