Dracula

Technically flawless as far as dance routines go, this bold re-imagining of DRACULA, hailed as ‘Ballet at its Darkest’ - offered a mixed bag with some admittedly interesting ideas which unfortunately, didn’t always work. That said, it’s worth seeing the production for its unexpected and hugely original twist ending alone!

Things went off to a promising start during a brief ‘prequel’ sequence which demonstrated how, in the 1600s, ruthless warrior Vlad the Impaler bravely defeats his enemies on the battlefield, only to be informed by the very Church he defended that his wife, the love of his life, has been condemned and killed due to her apparent lack of loyalty towards said religious institution. Enraged, Vlad renounces his faith, sells his soul and well, Dracula, Prince of Darkness (Ervin Zagidullan) is born! Admittedly, the idea to show Vlad transforming into the Lord of the Vampires is rather original and above all, those not familiar with the story (is there anyone out there who isn’t?) finds out the reasons for Vlad’s transformation. Unfortunately, and unless you were lucky enough to sit somewhere in the middle of the auditorium, this particular scene took place almost completely dipped in darkness sans a narrow-lit spot centre stage, where the gruesome tale unfolds.

Forward two centuries later and we’re now in England. An elaborately staged dance sequence involving the entire ensemble celebrates the wedding of Mina Harker (Abbey Hansen) and Jonathan Harker who, unfortunately, wasn’t credited anywhere. So well, whoever the dancer was who took on the part of Jonathan on Friday 12th, you were good!
The wedding sequence showcased the talent of the ensemble, who moved to Mendelssohn’s ‘Wedding March’ though it all went on slightly too long and didn’t contribute much to the story. Less (or shorter, rather) would have been more here.

As a special wedding gift, Jonathan’s employer sends him (a lawyer and estate agent), together with new bride Mina, to Transylvania on a honeymoon. Of course, the choice of location is deliberate: during their honeymoon, Jonathan is tasked with securing a business deal with a certain Count Dracula. If you think you know how the story continues, you are mistaken because from then on, nothing much plays out like it does in the classic horror novel. It’s a reimagining remember, and having Mina and Jonathan arriving in Transylvania together is the first detour of many from the events we are familiar with.
Once the honeymooners arrive at the Castle (a clever, multifunctional set designed by Martin Thomas), they get cosy in the bedroom. Not for long though, as the newlyweds find themselves plagued by four female ghost-like appearances (in the novel and various film versions known as the Brides of Dracula). Once again, unfortunately no credits for the four ghostly dancers who, with their ethereal appearance and unusual dance moves, turned out to be one of the absolute highlights of the production. Flanked by a door on each side of the four poster bed, Jonathan and Mina begin to feel increasingly terrified and, sitting on the edge of the bed, hide underneath a duvet…an idea which backfired as it only resulted in giggles from the audience instead of projecting an atmosphere filled with menace.

It’s not long before Dracula appears and what an entrance - complete with bombastic music and the castles’ gothic window illuminated in hellish flame-red. What Ervin Zagidullan might lack in imposing height, he more than makes up for with his flawlessly executed dance movies, gestures and facial expressions. During a later scene, he even glides downwards, bat-like, from the ceiling to the stage floor. Another highlight! We all know what happens when Dracula sets his eyes upon Mina, who bears an uncanny resemblance to Dracula’s murdered wife. Thus, he spares Mina’s life - cue for several ballet duos between Abbey (who really is the belle of the ballet) and Ervin. To delve any further into the plot would only spoil the broth, so this reviewer shall refrain from doing so. Let’s just say that Act 2 is full of twists that nobody sees coming. As for the climax, what an absolute orgy of shock surprises!

With music ranging from the Witches’ Sabbath of Mussorgsky’s ‘Night on Bald Mountain’ to Rachmaninoff’s ‘Isle of the Dead’ and Debussy’s ‘Clair de Lune’ - this is a slick ballet production which demonstrates ambition and talent under the guidance of choreographer Joel Burke, who is also the artistic director. There is no doubt that BIG Live’s international tour - presented in association with United Airlines - impresses with impeccably staged choreography, sinister sets, costumes and make-up. What it doesn’t achieve is terrify its audience and that’s a shame, as this is what DRACULA should be about.

The DRACULA performance at Edinburgh’s Festival Hall concluded BIG Live’s UK tour 2026 and the company is now moving on to international dates (https://bigliveco.com)


Photo: Craig Ratcliffe