This 1924 stage adaptation by Hamilton Deane was further revised by John L. Balderston in 1927, when he reduced the characters significantly. Theirs was the first adaptation of the novel authorised by Stoker’s widow.

When the play was revived years later, in 1977, the production won Tony Awards for Best Revival, Best Costume Design, nominated for Best Scenic Design and Best Leading Actor in a Play.

The Murdoch Theatre Company’s trilogy of horror presentations, ‘The Gothics’, opens with this 2-hour production of ‘Dracula’. It can be seen at the Nexus Theatre, within Murdoch University (near carpark 3) at 90 South Street, Murdoch.

The performances are at 7.30 each evening until 9^th July.

Ally Snell has given us one of the best sets I have seen in community or university theatre.

It is 1900 in a cavernous Gothic house in Purley, south London. The scene is a doctor’s home, with patina-coppered walls and arsenic green paintwork. The largest, most sumptuous Chesterfield settee I have seen and various office furniture. There is a massive fireplace, crowned with a family crest embellishment. A pair of patio doors led onto a balcony. A stone staircase climbs to the attic and the arched, neo-Gothic windows.

The numerous, difficult to source, fascinating props of the period were gathered by Andrew David. The Production Managers were Andrew David and Scott McArdle. Stage Manager was Brianna Lea assisted by Justin Crossley and Sean Weislo.

     A young man, Renfield (Rhys Hyatt), is waiting in the surgery of psychologist, Dr Seward (Stephen Platt) when three beautiful women in diaphanous black dresses seem to materialise from nowhere – they are the Brides of Dracula (Jess Serio, Christie Strauss, and Jenia Gladziejewski). They feast on his blood and now poor Renfield is one of their family.

     Later, the doctor is discussing with the naïve, nervous fiancé of his daughter Lucy, Jonathan Harker (Philip Hutton), how Lucy (Toni Vernon) has suddenly become very anaemic and is having strange dreams. The men leave the room and the housemaid, Miss Wells (Rhianna Hall) tidies the surgery. The lights flicker, animal noises can be heard from beyond the balcony; a handsome man sweeps into the room; it is the mysterious Transylvanian, Count Dracula (Joel Sammels), who recently bought the house next door.

     Whilst writing at his desk, Dr. Seward is interrupted by his whinging, overworked assistant, Butterworth (Alex McVey) who tends the doctor’s insane patients. Butterworth tells the doctor that poor Renfield has escaped – amazingly – over a 30-feet wall. The doctor is racked with worry, his daughter’s safety is now in doubt, and so Seward decides to call in a Dutch medical specialist in mysterious diseases, Van Helsing (Jason Dohle).

Will this expert be able to help? If so, how? Or is it too late?

Scott McArdle’s lighting totally captured the mood, from the warmth of the sitting room with friends, to the chilling, threatening night scenes. Shannen Precious smoothly operated the many tricky, lighting effects.

All too often have we heard a poorly recorded thunderclap that even had needle-dust crackle. Here, Tim Brain’s soundscape team, of Katie Southwell and Luke Gratton, shook the house with their booming, convincing effects. Magnificent work perfectly cued and operated by Tay Broadley. Talented composer, Drew Krapljanov, was once again responsible for the production’s background music. His skill is in his meaningful minimalism; the occasional chord, a few bars on the cello and lower keys of the piano, gave us mellifluous harmony.

The period costumes (Sophie Braham) and demanding makeup (Leah Toyne) were well-researched, giving authenticity to the era. Director John King must be congratulated on creating such a brilliant production. The actors were perfectly rehearsed, filled with depth of character. The drama had all of the vital elements, tension, creepiness, love, beauty and excitement in copious helpings. With such a large stage, Launcelot Ronzan helped supervise the movement and choreography.

The whole cast worked so hard, all giving exceptional performances. The Count was suitably repulsive and creepy, Renfield totally deranged. The voyeuristic, glamourous Brides popped up everywhere, and the ailing Lucy. A little light relief came from Butterworth. All complemented in their own way the powerful performances of the main characters, and the convincing, chilling suspense.

Highly recommended.

Coming soon to this same theatre are the other two play in this Gothic trilogy, ‘The Mummy Rises’ from the 14^th – 16^th July, and ‘Frankenstein’ on 21^st – 23^rd July.

The theatre now has a smarter entrance hall, a proper Bio Box, an improved lighting grid, cushioned bench seats, along with thickly insulated walls between the theatre and the rehearsal space next door.

The play is 65-minutes with no intermission. There are three performances, Friday 21^st August and Saturday 22^nd at 7.30 pm, with an extra matinee fitted in at 3.00 pm on the Saturday due to sell out evening performances. This leaves one wondering – Why are there so few Science Fiction plays?

 The scene (set design – John King) is a dimly lit laboratory, with a thermal awakener unit leading to the cryogenic area. There are computer screens controlling the authentic airlock doors (operator John Bailey). At the rear of the laboratory is the control centre, comprising a massive screen with never-ending computer jargon flowing and various technical boxes glowing. A hospital bed is at the side of the room.

Nick Morant operated John King, Tim Brain and Katie Southwell’s realistic and creepy lighting design. The whirring door noise was straight from space, super work by Ryan Partridge.

       The Esana Inc. cryonics facility is available to the public for hire. If for some reason you wish to be stored at icy temperatures until a future date, then for a fee this company will look after you. Seven very different people, who had signed up, are now being urgently awoken.

     First out of the chamber is James (Dean Lovatt), who has been in storage until a cure is found for his ‘delicate condition’. He checks the computer screen information, hoping to find the date, or even the decade! The airlock door buzzes and angry Hedy (Anna Weir) emerges, quickly followed by conman Matt (Aaron Jay) who looks very sick. Matt explains how he had arrived 10 years after Hedy had expected to depart – why had not she been woken up?

     Disabled Paula (Nicola Brescianini) and pregnant Tara (Bethsaida Tapsall) are both looking for some special medical treatment. The Transfer door buzzes and a happy, elderly man emerges, this is John (Ron Arthurs), who believes every day should be joyous. Seconds later Dr. Ettinger (Jason Dohle), the controller of the Unit, emerges. At last, there might be some good answers to the pandemonium and upset.

Writer / director Stephen Platt has skilfully created seven believable characters for his unusual story. So rare is this genre for the stage, that when I was trying to think of a play to compare it with, I was at a loss. In the last decade, I think this production has a unique style. The characters are well considered, filled with traits and attitudes that helped keep the story threads twisting. The storyline included all of the important elements, suspense, black comedy, straight slapstick, mild violence, tragedy and of course, love. The dialogue was a little thin near the beginning, but by the end, the interaction was crisp and the words matched the personalities well.

The costumes were simple grey, medical pathology suits with the company logo. John had a wild waistcoat (wardrobe – Ellin Sears, Denise Smith, Dean Lovatt). All of the inpatients had blue-flashing earpiece monitors – nice touch. Catherine Dunn dexterously created the hair and makeup.

Sci-Fi is not normally my favourite style, but I really enjoyed this play. It was so much more than being blinded by weird science; the storyline was solid, with a clever, unexpected ending.

To a nice bloke and a name to remember, good luck for the future Stephen B. Platt.