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.

This 65-minute production is being presented by the Black Martini Theatre Group, in the Murdoch University Drama Workshop, next to car park 4, 90 South Street, Murdoch. The performances are on nightly until Saturday 16^th May, with curtain up at the slightly earlier time of 7.30 pm.

Sam Knox’s set depicts a typical young student’s diseased bedroom. Dark blue walls covered in posters of the cinema’s famous heroes. In the corner stands an old wardrobe. The floor is covered with clothes and junk. In the centre of the stage is a double bed with octopus tentacles crawling out from underneath. Stage Managed by Michael Casas.

       The sun shines through the drawn curtains. The mound in the bed is static. Lazarus (Alex McVey) is depressed, and has been lying there for the past three days, refusing to move. His flat mate, Panda (Shannon Rogers) is madly in love with Laz, but he is too self-centred with his troubles to notice. Panda tries every trick in the book and various enticements, to get Lazarus to leave his bed, but he won’t even talk to her.

      In his little world, Laz sees himself as the master of his own fate there. Then, like a scene from the ‘Lion, the Witch and the Wardrobe’, his wardrobe door opens and out steps the mysterious, mischievous Sidney Arthur (Philip Hutton). Lazarus seems to recognise Sid, but is not too sure who he is.

      Sid chats to Lazarus, trying to get him to open up about his past memories and why he won’t leave his bed. Even when Lazarus’s red-hot friend, Mackenzie (Rhianna Hall) calls around, he cannot be tempted from his kip. Lazarus even prefers his exotic fantasies about Harry Potter and Superman, than to make love – or sabre fight (choreographed by Launcelot Ronzan) – with Mackenzie.

       Can Sid get to the bottom of Lazarus’s problems? Will Sidney ever be normal again?

Plenty of lateral thinking from the director, Thomas Dimmick, has this very funny play belting along at a cracking pace. The cast are exceptional, with the miserable Lazarus being perfectly countered by the zany and whacky Sidney. Two superb performances, but Philip won the day with his numerous accents and impersonations.

The soundscape called for numerous split second cues, but designer Luke Gratton was well up to the task. His choice of music showed great imagination, and was perfect. The sound effects ranged in volume from 10 to 100 decibels.

The lighting designer, Scott McArdle, created some wonderful effects from sunrise to the dappled light of the fantasy sections. Slick operation by Jess Serio.

Some extra fun was added by the choice of costumes by designer Cat Perez.

If you like ‘Harry Potter’, ‘Star Wars’ and ‘The Young Ones’, then you will love this skilfully presented, madcap blend. Plenty of belly laughs, sensitively mixed in with the odd sad cameo. MOST enjoyable, great theatre.