Hartford Stage, Hartford, CT
through November 1, 2026
review by Shera Cohen
review by Shera Cohen
What better way to open Hartford Stage’s current season than with an American premiere? The selection of “Dracula” is certainly appropriate to the Halloween season, as the production’s dates overlap with those of the holiday which brings out the proverbial ghosts and goblins, especially to children.*
Nearly everyone knows the image of Dracula – both man and winged bat. Yet, this version has another take, primarily focusing on the victims in the plot. While so many aspects of Hartford Stage’s production are exceptional, the adaptation of the original novel and/or other theatres’ versions are somewhat of a stretch for audience members to fully understand.
Extraordinary are the backstage crew, giving “Dracula” the mood, atmosphere, and jump scares to make the play all about fear. In fact, the opening line refers to fear, motivating the show’s progression. Director Jackson Gay’s triumvirate of uber-talented backstage creators include Riw Rakkulchon (set design), Paul Whitaker (lighting), and Carolyn Eng (sound effects). From hidden rooms beneath stage level to unexpected lighting design to deafening clashes, the play becomes even more than what is anticipated.
Essentially, this rewrite of Bram Stoker’s classic, instead of being linear and story-driven, the structure puts the onus on one character as the narrator, retelling the story in the past tense. The action has already taken place, and the audience is only hearing about it now. This reduces the tension and conflict between characters in actual on-stage time.
At some points the structure of this version calls for actors to break character. In one instance, victim Lucy stands center, alone and still, for what awkwardly feels like an eternity as Mina (narrator) stands backstage composing herself. Neither have dialog. In addition, this version is meant to be a play-within-a-play, which make some scenes that should have been very tense, lack gusto.
Sara Gutierrez gives Mina her unwavering interpretation, directing stage traffic all the time as the director of the other actors. She appears fetching in black. The actress rarely leaves the stage from start to finish; a huge task for any single actor. This is Mina’s story – not Dracula’s or even Stoker’s. She is the leader of the troupe. Yet, she runs her show (within the show) with a voice that is much too loud. The audience hears her clearly without the emphasis.
Heard at intermission were comments from patrons who found it odd that only one cast member was male. Whether the two lead characters portrayed by women was meant to infer any particular relationship is unclear. Perhaps there is no ulterior meaning other than Dracula is not particular who he puts in jeopardy.
Hartford Stage never fails to tell its stories with exemplary actors and designers, even if patrons might not like an occasional script. “Dracula,” however, may be the near miss thus far. Miss does not pertain to the above-mentioned polished cast and crew member, but to the story. Why mess with what is tried ‘n true?
