Bram Stoker’s late 19th century vampire novel not only became a worldwide classic but, closer to home, put the north English town of Whitby on the literary map. This new radical version takes the chilling story back to its Scottish roots in Cruden Bay where Stoker spent time and gives a nod to forgotten female Scottish writer Emily Gerard who may have inspired the original text.
Conceived by Elgin born Morna Pearson and Sally Cookson, the story focusses on Mina Murray (Danielle Jam) who in this version has been in a somewhat one sided relationship with Jonathan Harker (Catriona Faint), the young solicitor who goes to Transylvania to deal with a property sale for a mysterious Count. This Mina is ahead of her time and not enamoured by the idea of marriage, preferring a life of freedom while Jonathan is painfully shy and hesitant so instead of a wife has a friend and travel arranger in the clever Miss Murray. She arrives at the Aberdeen Asylum with Jonathan’s diaries detailing his encounters and virtual imprisonment in the home of Count Dracula, realised in an assuredly androgynous performance by a long haired and long taloned Liz Kettle. The poor souls in the asylum have had little excitement beyond who gets the last bowl of custard, but Mina’s arrival offers them excitement and the prospect of a different life.
The story, by Morna Pearson, Rosie Kellagher and Sally Cookson, who also brilliantly directs, is laced with pawky humour and imbued with differing levels of Pearson’s own native North East Scots dialect, the delivery of which was made with notable authenticity by Anna Lacey as Bella and Catriona Faint as Jonathan. The seven strong ensemble cast takes on dual gender roles with aplomb across the scenes during which their unified movements are impressive under the guidance of Movement Director Vicki Manderson.
The play contains content warning of “scenes of violence, simulated self-harm, blood … frightening moments” (it is Dracula!) but the skill of the team that has made such scenes so theatrically and visually dramatic without resorting to anything gratuitous deserve high praise. Set and Costume Designer Kenneth MacLeod’s stunningly ingenious set morphs, like Dracula himself, from the asylum to his castle with Jonathan’s travels across Europe brought to fantastic life thanks to the video design from Lewis den Hertog. Composer Benji Bower’s powerful, at times doom ridden, music and lighting from Aideen Malone help create the shifting moods across this bold piece of theatre that holds you like a vice throughout.
While Mina’s speeches refer to her own bid for freedom from the constraints placed on a woman in the society of her time, they can clearly hold an interpretation for anyone seeking to live a different life against the odds. Dracula: Mina’s Reckoning is a great testament to the scriptwriters of this gallus and dynamic work that puts two things that are either misused for comic effect or left in the shadows – the Scots language and women – at its core.
Running time 130 mins
Age recommendation 14 +
Irene Brown
Radio Summerhall Arts 