By Kathryn Olsen
Ballet West returns to the Capitol Theatre stage in Salt Lake City this October with a riveting production of Dracula. This ballet, choreographed by Ben Stevenxon OBE, features memorable characters from the novel of the same name by Irish tax-collector Bram Stoker, but is a compelling take on a different part of the titular character’s existence while set to John Lanchbery‘s arrangement of music by Franz Liszt. As a long-time fan of both horror and Stoker’s best-known work, I looked forward to seeing this interpretation.
The ballet opens as Dracula (Rex Tilton/Chase O’Connell/Adrian Fry) awakens and journeys to his home, where he is greeted by his wives. His servant, Renfield, arrives with Flora (Katlyn Addison/Emily Adams/Alison DeBona), a young woman sent from the nearby village. She is brought into the fold of vampire brides as the first act ends. As the curtain rises again, Svetlana (Jenna Rae Herrera/Beckanne Sisk) is celebrating her 18th birthday and the marriage proposal of Frederick (Jordan Veit/Hadriel Diniz/Tyler Gum). The community rejoicing is interrupted when Flora returns, distracting the villagers from the infiltration of Dracula into their midst. In spite of the efforts of the innkeeper (Tyler Gunn/Jordan Veit/Hadriel Diniz) and a priest (Adrian Fry/Rex Tilton/Chase O’Connell) to fight back, Svetlana is captured. It is then the duty of the men who love her to try to rescue her and defeat the nefarious vampire.
Tilton’s Dracula is tyrannical and enthralling in a number of ways. There are moments of connection with the women he has subjugated, but the motives multi-dimensional in his expression. His choreography is, at times, less complicated than that of the other principal players so that his movements are absolute and imposing. Tilton has played roles on the lighter side of things, but his Dracula calls to mind his magnificent 2019 performances as Von Rothbart in Swan Lake.
Addison has the greatest arc of the story, an imprisoned victim in Act 1 and a woman who fights what she has become in Act 3. One of the most striking scenes of Act 3 is her solo in which the audience is able to see that she retains her humanity the most of Dracula’s brides. While Dracula is the title character and principal anagonist, Flora’s story arc is just as central to the story as that of Svetlana and Addison’s emotionally-rich portrayal is breathtaking.
While Flora’s story demands dramatic depth throughout the ballet, Svetlana is a role that demands vitality, tenderness, and depth in a comparatively short amount of time. Herrera naturally portrays a girl who is the apple of her father’s eye, but her relationship with Frederick is where Herrera and Veit bring the audience into such moments of emotional intimacy that the remainder of the cast seems to fade away so that they are within their own world. She also executes the role of overjoyed young woman with such élan that it is clear why this character is so celebrated by her fellows. After the curtain calls, Artistic Director Adam Sklute took the stage to announce that Herrera was being named a principal dancer, the audience immediately gave her a standing ovation in recognition of how well-deserved the promotion is.
Veit’ plays the love interest and eventual heroic figure with strength and adamant courage. In Act 2, he is a wonderful partner to his beloved Svetlana, but the circumstances compel him into a more audacious role. He dances with great energy and humor, but he somehow conveys a sense of empathy in his interactions with Herrera that is integral to the course of the story.
Significantly, this ED treatment is reported to be safe and effective. buy levitra online You may have heard someone say that they have a levitra 40 mg MoM hip device. This disorder may be caused due to social, psychological or external environment, internal illness of any kind. female levitra generic no prescription viagra What was thought to be an unusual problem for men is an effective remedy to number of diseases.The most outstanding performance of the night is David Huffmire‘s (Joshua Whitehead) Renfield. Fans of the book will remember this character as Dracula’s servant who helps him reach England and is committed to an asylum. In this plot, he is a man who is compelled to commit crimes and witness atrocities and the seeds of his novel counterpart’s insanity are sown. Huffmire’s performance is frenetic and technically demanding in each scene that he participates in and the result endears him to the audience.
The supporting ensemble is wonderfully cast as well. Gum and Alison Debona (Katlyn Addison/Emily Adams) play Svetlana’s parents as the sort of parents who have kept their relationship alive with good humor and patience. Fry makes the transition from member of the community to warrrior against darkness effortlessly. The peasants entertain with various folk dances and even stage something of an impromptu bachelor party before everything goes awry.
Most fascinating is the corps de ballet that represents Dracula’s wives. The chorus roles in many ballets are known for their loveliness and grace in support of the solo roles, but this performance demands that the women of this corps dance with as little expression as possible. They are ensorcelled and moving chillingly as if in a dream so that when they exhibit individual personalities in Dracula’s absence, it is heart-breaking to see them fall under his spell once more.
The technical demands of this production are skillfully met with Dominic Walsh‘s work in Staging to bring the choreography of Ben Stevenson to its most effective level and with Lauren Anderson working on Additional Coaching with the dancers. Scenic Design by Thomas Boyd and Lighting Design by Tony Tucci, based on the design by Tim Hunter, combine to set contrasts between Dracula’s realm that feels like a mausoleum and the village where his presence is preternaturally sinister. Flying by Foy enables the bat-like swooping choreography of Dracula and his flying brides. The costumes by Judanna Lynn are regionally appropriate for the village scene while utterly foreign to the ordinary world when worn by Dracula or his brides. Music Director Jared Oaks conducts the music with great skill, especially in the theme based on “Dies Irae” that is Dracula’s personal leitmotif.
Parents of younger audience members should be aware that there are several depictions of violence that may not be suitable for all ages. For health precautions, staff and dancers wear masks when not on the stage and they ask all audience members to follow suit.
Dracula is only in town until the night before Halloween, so hurry to the Capitol Theatre box office or its online counterpart to get tickets to the perfect thriller for the season. It will be a blood-chilling experience that you will not forget.
Ballet West presents Dracula; Music by Franz Liszt, arranged by John Lanchbery.
Capitol Theatre, 50 W 200 S, Salt Lake City, UT 84101
Oct 22-30, 2020, 7:30 PM, Matinees at 2:00 PM.
Tickets: $34-89
Contact: 801-869-6900
www.balletwest.org
Ballet West Facebook Page
Dracula Facebook Event
0 Comments