Studio Theatre 
Studio Theatre, Salisbury 
Anne Waggott 
23 May 2025
With a multitude of renditions and a myriad of lore and traditions, who hasn’t heard of Dracula? In one of the most faithful versions of Bram Stoker’s gothic horror novel, Studio Theatre’s latest sell-out production continues to prove the lure of his enduring appeal.
Director Linda Hayman brought her passion and directorial expertise for the classics to Dracula’s timeless story, here adapted by Richard Sharpe. It’s a novel noir of desire, yearning, seduction and immorality, which resulted in a totally beguiling evening full of intense intrigue and horror. From the moment I entered the auditorium, greeted by the illuminated dead body of a young woman dressed in pure white, I was drawn into the dark and twisted underworld of the Count’s domain – and remained gripped in its spell throughout.
As the lights – with musical accompaniment – came up ever so slowly, the atmosphere genuinely built into inevitable tension. The voiceovers (in a cinematic touch) served to introduce each character in turn, as the characters honoured the recently deceased young lady. I did feel that the continuation of underlying music would have brought even more depth to the staging (I think it only happened once), but that really is being pernickety! Generally speaking, the pace and timing throughout were first rate.
Colin Hayman’s deceptively simple set of gothic columns, cloths and set pieces was brilliantly enhanced with projected images, helping to clearly establish each location (Whitby, London and Dracula’s Transylvanian home). A superb array of atmospheric lighting (Brian Waddingham) and site-specific sound effects (John Jenner), apt musical interludes, stunning late Victorian costumes (Rae Owen and Megan Greenstock), and George Fleming’s period-perfect props, all combined to complete the splendid aesthetics. Although no credit is given in the programme for hair and makeup, these were also ideally suited to the period and narrative, with the subtlest shade differences between life and afterlife – or were my eyes deceived by Dracula’s spell?!
However, it doesn’t matter how superb the production elements might be, without depth and quality of performances any staging would be all show and no substance. As I’ve said with Studio Theatre over the years, no fear of that here! The production elements may have been what caught my eye and ear initially, but it was the performances that mesmerised and kept us all transfixed.
Paul Chalmers embodied the eponymous antihero, a charming Transylvanian aristocrat with a demonic thirst for blood, slowly entrapping his victims as he compelled them to freely submit to his will. With hypnotizing voice and mesmerizing mannerisms, Chalmers commanded the stage with every appearance, whether attired as the traditionally recognised image of Dracula or as a wizened old man (wearing a wig that gave a nod to Saruman from Lord Of The Rings, of course played by Christopher Lee, one of the most famous actors to brilliantly portray Dracula – nice touch!).
Alistair Faulkner excelled as his arch-nemesis, Dr van Helsing. He had magnificent freezes as he silently sat, statuesque, reading witness journals for an extended length of time, as the narrative was relayed elsewhere. With a respectful accent and statesmanlike authority, Faulker was compelling as the eminent scientist, expert in the supernatural.
Martha-Rose McKeown was once again outstanding as the beautiful, innocent, yet vivacious young lady, Lucy Westenra – each accent, gesture, facial expression and movement personified the shifts in Lucy’s character, from virtuous innocence through her downfall into eternal unrest, and her poignant ending (don’t worry, no spoilers… it’s Lucy’s body lying in state on entering the auditorium!). McKeown’s interactions with Lucy’s fiancé, Dr John Seward (sympathetically portrayed by Andrew Hall), best friend, Mina, and Dracula himself were endearing, coquettish, haunted, terrifying… and all reinforced her continuing strengths as an actor.
Martha Osment (Mina Harker nee Murray) charismatically captures the essence of Lucy’s close friend, giggling without a care in the world with Lucy one minute, feisty, defiant, resolved in another; dutiful yet assertive with her husband, Jonathan (stoically portrayed by Matthew Hodge), on the one hand, willingly submitting to Dracula’s desire, on the other.
In such a dark tale of debauchery and devilment, you might not expect comedy, but some of the genuinely funny moments were brought about Dr Seward’s asylum patient, Renfield. Simon Haseley achieved just the right balance between maniacal hysteria, doomed prophecies and flawed devotion to his evil master, effortlessly switching in an instant between comedy and drama.
Nosferatu was portrayed as an unearthly sextet, with wonderfully wraithlike fluid movements, hissing and spellbinding focus from Sheridan Cooper, George Cotterill, Rosie Lewis, Sharon Lloyd, Tasmin Pinder and Fran Sung. An intriguing concept for me (although I realise that this would probably have been initially in the licenced play), the ensemble of Nosferatu was either part of the set, action or used to change scenery…
Which brings me to my only other personal niggle… I don’t usually advocate slow scene changes, but I felt that their fluidity of movement in character was stunted, at times, as they broke character to complete moving the set. As there was subdued backlight throughout the scene changes, showing the actions of each Nosferatu in silhouette, perhaps background music and slower changes would have actually enhanced seamless transitions, without breaking the illusion. Again, that really is nit-picking!
Dracula has one final outing this evening, Saturday 24 May, at Studio Theatre, Salisbury – but if you don’t have a ticket already, I’m afraid you won’t get invited in… this is another sold out production – and deservedly so!
