Dracula: The Musical

A stunning musical revival bares its fangs in Glendale

Halloween Scene Los Angeles review

You know the book, you’ve seen the movies, but have you ever heard a vampire sing?  Well, if not get thee over to Glendale this Halloween season for the captivating and highly stylized “Dracula: The Musical” at the historic and reportedly haunted Nocturne Theatre.  Who knows if Bram Stoker could have ever imagined that his masterstroke would one day be reimagined as musical theatre nearly 150 years after the novel was published.  Yet, here it is and in very fine form.

Meyer2Meyer Entertainment have a real winner with their stunning revival of the 2004 Don Hampton, Christopher Black (lyrics/book), score by Frank Wildhorn, Broadway tale of the Count who just can’t die.  If this production is any indication, he won’t be going anywhere in the near future either, no matter what a wooden stake might have to say about it.  The Broadway show may have had a short run, but if audience reaction in Glendale is any indication, this soaring rendition could be around for years, Halloween season or not.

The Nocturne’s gothic vibe and period architecture sets the mood well before the very first note is sung.  And the in-the-round seating is a refreshing way to experience a production that utilizes every available bit of space as part of the playing field.  When the rock pop-score musical hits its first high-note on electric guitar you realize it’s going to be a great evening of entertainment.

Starting out in the pre-bloodsucking days, Vlad the Impaler is introduced to us in this production as the great warrior who in real life took more than his share of blood, but at the tip of his blade not from fangs.  In this (obviously) fictionalized story, Vlad’s love, Elizbeta, tragically dies and the warrior renounces God and moves to the dark side, becomes a lover of blood, and spends the next several hundred years as the undead, only to rise when the sun sets. 

It’s centuries later (thankfully just a few minutes in theatre-time) when the musical kicks into high gear in Victorian England.  Dracula and his sultry concubines relocate from Transylvania to London-adjacent where it seems Mina, who is none other than Elizbeta reborn, becomes the sole focus of his fanged passion.  He’s only biding his time when in his wolf form he ravishes Mina’s dear friend Lucy, before convincing the former of his endless love and devotion.  And Mina can’t argue really because in some inexplicable way she loves him too.  The Count has been communicating with her telepathically for quite a while, and she is captivated by his presence. Her husband Jonathan will just have to understand. 

Having soon had enough of the garlic and holy water treatment in England, the Count flees back to his homeland of Romania, pursued by several adversaries, including the relentless vampire hunter Van Helsing.  Ultimately, the inevitable end of eternal damnation comes by the very hand of his one true love, Mina. 

The cast breathes fresh life into this musical, with standout performances from actor-director Justin Meyer as the eponymous namesake of the story, Samantha Rose as Mina and Kelly Krippendorf as Lucy, Dracula’s first conquest in England while he waits for Mina to come to him of her free will.  The show stealer of the evening, though, is the remarkable Andrew Diego as Renfield, who in the limited minutes he’s on stage absolutely devours the role of the ever-so-mad follower of the Master.  The entire ensemble does quality work here with both acting and singing duties in the high-energy production.  The singing of Meyer, Rose and Christian Lees as Jack are the standout voices, but all are wonderful singers.

Along with the fine acting, it should be noted that there’s almost a show within the show here, as Dracula’s vampiresses, or brides, if you so choose, not only play their seductive roles with aplomb but also double as aerialists, performing Cirque de Soleil style soaring acrobatics at several points in the show.  Lisa-Marie Burnside, one of the flying-performers, is also the aerial choreographer.

Credits also to the technical team for the incredible lighting and special effects.  You’ll never see better use of red lighting to convey special moments too.  Blood, fire and fog are all employed well, as one would hope in the story of Nosferatu.  While the overall sound was strong, some of the actors’ mics sounded a bit muffled during dialogue at times, but they were perfectly clear when singing.

Seth Logan’s scenic design is impactful and appealing, with various intriguing gothic-inspired sets situated around the theatre both high and low as well as on the main stage.  Special FX makeup done by Sydni Sawyer is also expertly crafted.

The creature designs and costumes are incredible, with the high marks being Dracula’s various incarnations.  From the dashing and handsome (fully blood-fed) Count, to the decrepit geezer, and from the full-on-wolf to the monstrous, winged full realization of a man-sized bat, each transformation is meticulously crafted. The wings alone are worth the ticket price! It’s quite astonishing how they pull it all off. Kudos to creature designer Tanya Cyr, costume head Gavin Dietz and fabricator Greg Feiler.

Director and star Meyer gets extra points for having the theatre-in-the-round arrangement not work against him. It’s inevitable that as the cast tries to engage the audience from all sides equally, there will be moments when you are looking at their backs. However, he overcomes this potential issue with clever staging. Keeping the action moving and adjusting his players’ performances to change positions often yet organically, assure that back-staring never becomes much of a thing.  Suffice it to say, wherever you sit in this stunning theatre you’ll have a great seat.  Beware however, If you’re on the end aisle, watch out for Renfield and his ever-present insects.

The four-piece live band – Chris Wade and the Dracula Band - are spectacular and sound more like an ensemble twice that size as they expertly riff through a score of rock, pop and Broadway style numbers.

While the production is impressive overall, it could benefit from having perhaps two or three fewer songs in the show, without weakening the overall impact at all.  Each main character has an opportunity to sing their power ballads, showcasing their talents and providing the exposition needed to advance the story, but then there’s yet another and sometimes even another song.  Hampton and Black pack a lot of lyrics into Wildhorn’s songs, and the cast rises to the occasion with the occasionally wordy numbers.  Still, reducing the number of songs by a couple and adding an additional acting scene, such as the Count meeting Mina in London,  might have been the ticket.  Of course, this is a licensed musical that Meyer2Meyer is producing, and they may not have permission to cut, even if they were so inclined.

“Dracula: The Musical” is romantic, sensual and suspenseful, and it's an outstanding all-around production that is likely to become an annual fall tradition in Glendale.  This season, or any, Halloween Scene Los Angeles highly recommends this gem of a show.

Dracula: The Musical

Rating 4.5 (of 5)

Nocturne Theatre

324 North Orange Street

Glendale. CA  91203

Mature content:  Best for adults and older teens

Now through November 2^nd.  Weekday evening performances, matinees on weekends.

Tickets:  $44-$75 depending on seat location/date