Review By M.T. Bennett, Front Row Reviewers
After a triumphant run in 2024, the immortal Dracula returns to Peery’s Egyptian Theater in Ogden, and it’s every bit as haunting, immersive, and beautifully unsettling as promised. Ogden Musical Theatre delivers a production that leans into Gothic horror with confidence, transporting audiences into a world where shadows shift and danger lurks just beyond the dim candlelight.
I was fortunate to view the final dress rehearsal for this production and, as a huge Dracula nerd, I was incredibly excited. Every year around Halloween I read the book. I’ve read the prequel and sequel written by Bram Stoker’s great-grandnephew, and seen numerous adaptations on film and stage. I’ve lived in Transylvania, speak Romanian, and even read Dracula in Romanian. I had high hopes for this production.
As a classic, Dracula has had many adaptations. From silent films, to the critically acclaimed film in 1992, a superhero-like origin story in 2014, a time-hopping Netflix miniseries, and more. There is even the 1901 Icelandic translation “Powers of Darkness” where the translator thought Stoker’s book was too boring, so they sped up the plot, added new characters, made narrative changes, and ramped up the eroticism. For decades, no one realized that Icelanders were reading a totally different version of Dracula.
Yet, like the vampire himself, this story never gets old. Utah’s very own Jennifer Westfall has joined the illustrious ranks of adapters with this theatrical interpretation. Its greatest inspiration is the original novel, and seems to pull a little from the Francis Ford Coppola movie as well. Westfall makes her own imprint on this story. She takes a closer look at the humanity of each character, and, in my opinion, gives Reinfeild a better character arc. For readers of the book, prepare yourself for an early twist, and be warned that no beloved character is safe, despite what you’ve read in the past.
Peery’s Egyptian Theater is, well, without peer. Before the show started I got to speak with Digital Marketing Director Heidi Miller and Artistic Director Maurie Tarbox who told me about this gem in the heart of Ogden. It is over 100 years old, built shortly after King Tut’s Tomb was discovered during the height of Egyptomania, hence the historic decor. It is one of the few theaters with an atmospheric ceiling. The stone and ancient ambience were a perfect setting for Dracula’s castle in the Carpathian Mountains.
The blood red curtain rises and reveals a rich intricate set. Flickering candles, stringy cobwebs, and a perfect amount of fog. In the back is a huge Renaissance painting in reference to Michelangelo’s fresco “The Last Judgment” on the altar wall of The Sistine Chapel. Specifically the bottom right corner, referred to as the “Demon Drop” where demons drag the damned to hell. A startling shadow hinting at the dark deeds in store. Set Designer Wendall Peery instantly impresses.
Connor Padilla flows onto the stage as Dracula and plays a chilling melody on Peery’s historic 1,400 pipe organ. Padilla’s every movement is calculated and deliberate. He delivers a menacing and magnetic performance as Dracula, exuding both elegance and evil in equal measure. His presence dominates the stage. He is calculated, hypnotic, and utterly inhuman. With every movement and growl, Padilla crafts a Count who is not merely a monster, but an ancient force of nature, terrifying in his quiet control.
I must also commend his Romanian pronunciation as, at one point, he says to Mina, “Am traversat oceanele timpului ca să te găsesc” or “I have traversed oceans of time to find you” which is a line from the 1992 Bram Stoker’s Dracula film. So yes, in this adaptation Dracula isn’t just power without conscience, but a deep romantic as well.
As Jonathan Harker, Chad Brown brings heart and humanity to the chaos. His descent from determined solicitor to desperate survivor is unsettling. Brown’s performance is grounded and intense which serves as a counterbalance to the supernatural horror that unfolds around him. I was incredibly impressed by how he embodied the vitality of his early youthfulness and then, under the distress and influence of the Count, warps into an old man before our eyes. This is also thanks to the expert wig and makeup design from Cindy Johnson. Brown’s descent into madness is emotionally chronicled in each of his compelling monologues.
As readers of the book know, the novel Dracula is made of letters, articles, and journal entries. A kind of early “found-footage” story. Some of these letters are projected on the walls of the theater with voice-over, but Director Maddie Tarbox made a stylistic change this year. A catwalk extends into the audience upon which many of the letters are delivered like a Shakespearean monologue. This was a great decision. It further traps the audience into the story and allows the actors the ability to showcase and adapt their emotional range. Maddie Tarbox’s guiding hand can be seen in this production. With clear vision, she is an insightful director who uplifts her team while uplifting the production.
Brandon Garside is the only actor to return from the original 2024 production. Apparently he can’t get enough of Dracula’s torments because in 2024 he played Harker and now he is unforgettable as Renfield. At times he is manic, sometimes lucid, always unsettlingly tragic. Garside has one of the creepiest laughs I’ve heard. As I mentioned before, this version of Renfield has a very satisfying character arc which Garside masterfully performs.
Lucy Westenra is played by Maura Gardner, who captures the duality of a character who is fun, flighty, and flirtatious and then becomes haunting and seductively evil. As her foil is the virtuous and resilient Mina Murray played by Jordan Clark, gives a performance marked with inner strength and hope. She becomes the emotional backbone of the second act as all those around her fall to the dark powers of the Count.
Valerie Packer commands the stage as Professor Van Helsing, bringing both power and compassion to the role. Traditionally, Van Helsing is an elderly paternal character, adding authority and wisdom to the strength of youth found in the rest of the cast. Packer’s performance is colorful, intelligent, and charismatic. Her authority derives from strength of will, deep knowledge of the supernatural, and her dogged determination to stop Dracula.
Justin Morris (as Arthur Holmwood), Robert Lytle (Dr. Seward), and Andrew Reeser (Quincey Morris) round out the ensemble of vampire hunters with strength and sincerity. Each brings distinct energy to their role, from stoic resolve to emotional urgency forming a believable alliance against the darkness.
Because of its mature themes and emotional intensity, Dracula is not recommended for younger audiences. However, for those willing to enter its dark world, it offers a rare kind of theatrical experience which thrills, unsettles, and lingers long after the final blackout.
This is not just a seasonal production or a re-telling of a familiar tale. It is a rich, fully realized vision brought to life by a cast and creative team firing on all cylinders. A true testament to the wealth of local talent that will stake you to your seats. With its chilling atmosphere, sharp writing, and commanding performances, Ogden Musical Theatre’s Dracula doesn’t just bring horror to the stage, it elevates it.
Please free to attend and see what I mean. You won’t leave the same as you entered.
Ogden Musical Theatre presents Dracula, based on the novel by Bram Stoker.
Peery’s Egyptian Theater, 2415 Washington Blvd, Ogden, Utah 84401
October 17,18, 20, 2025 7:30 PM, October 18 2:00 PM, October 19 4:00 PM
Tickets: $24.66-$33.25
Contact: 866-472-4627, 801-689-8700
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