To call Meadow Brook Theatre's season-opening production of "Dracula, A Rock Opera" a monstrous undertaking is both an understatement and a bad pun. But only moments into the show – as a stagecoach comes rolling onto the stage thanks to a constantly used turntable built into the floor – it quickly becomes apparent that the 45th anniversary season is starting with one of the theater's most tech-heavy shows in recent memory (or may be ever). And with nary an obvious flaw in its execution, "Dracula" – if nothing else – is one of the most ambitious and technologically impressive shows in an already exciting new season of theater across the state.
The question, then, becomes this: Will theatergoers – used to a rather traditional slate of comedies, mysteries and musicals at the venerable theater – enjoy a rather seductive version of this classic vampire tale, especially since the story unfolds without a word of dialogue? (Yes, you read that correctly: "Dracula" – as the complete title accurately identifies – is indeed a rock opera, which means every line delivered by the actors is sung, not spoken.)
Based on the slick and very entertaining opening night performance (and if the responses overheard during intermission and after the performance are any indication) – the answer should be a resounding "yes!"
The adaptation by John R. Briggs (with music and lyrics by Briggs and Dennis West) brings to life the 1897 novel by Bram Stoker. British solicitor Jonathan Harker (Eric Gutman) arrives in Transylvania on business and finds the townsfolk rather superstitious after they learn the reason for his visit – to see the nefarious Count Dracula (Billy Konsoer). At first he finds the count rather enchanting, but he quickly becomes Dracula's prisoner – and falls under the spell of the Brides of Dracula (Janet Caine, Jennifer George, Ann O'Brien). He barely escapes with his life and eventually returns home, only to learn that Dracula has beat him there – with his eyes set on Harker's girlfriend, Wilhelmina (Andrea Mellos).
Briggs' adaptation tells much of Stoker's story, but leaves out various characters and minor subplots, likely to keep the narrative focused and easy to follow – and under a certain running time. Rarely produced since its original staging at the Georgia Shakespeare Festival in the 1990s, "Dracula, A Rock Opera" has been "trimmed" and "rearranged" somewhat for its Michigan premiere – the result of which is an entertaining version of the oft-told tale. (A few lyrics could still use some polish, though; an occasional line seemed stretched out to fit the score – which ultimately didn't sound natural or conversational.)
What sells the show, however, are the skills and polish of the accomplished performers and the imaginative technical work, both of which quickly draw the audience into the story. Under the fine direction of Travis W. Walter, "Dracula" is more than a basic retelling of a familiar monster story; instead, it captures the sensuality and passion of the original work. The result is a "Dracula" that's equally erotic as it is scary.
Of course, in order to pull off such a concept, one needs a sexy Dracula – and that certainly describes the handsome Konsoer. Last seen at Meadow Brook in "Breaking Up is Hard to Do" (and at Mason Street Warehouse in Saugatuck this past summer), the muscular actor certainly has the physical presence for such a commanding role. But he also has the vocal chops to handle the variety of music handed him by the show's creators.
Dracula's wives, too, must be sultry temptresses – and again the show is well served by the gorgeously evil Caine, George and O'Brien. Their first act "Let Me Love You" (with an entranced Gutman) and second act "Eternal Living" (with Konsoer and Katie Hardy as Lucy) are scorchers.
So too is Konsoer's seductive "Let Me Love You" with Mellos.
The rest of the show's players – and the six-piece band under the direction of Daniel Feyer – are all top notch, while the handful of children are as delightful as they are talented. But the standout is Paul Hopper, who not only plays the role of Professor Van Helsing, he lives and breathes it. In a career of many fine performances, this ranks among his finest.
As already noted – and not wanting to give much away – the technical team of Brian Kessler (scenic design), Reid G. Johnson (lighting design) and Liz Moore (costume design) all contribute heavily to the show's success. And the stained glass windows by Sarah Warren and Laurel Robinson are beautiful indeed.
One question keeps gnawing at me, though: Was the result of Lucy's decapitation SUPPOSED to elicit laughter to help break the dramatic tension? Or was the reaction an unexpected response? (And I also wonder if, because I was so focused on the action, did I miss a light cue when Dracula met his fate – or did someone else?)
REVIEW:
'Dracula, A Rock Opera'
Meadow Brook Theatre, 220 N. Squirrel Rd., Rochester. Wednesday-Sunday through Oct. 31. $30-$39. 248-377-3300. http://www.mbtheatre.com
