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Dracula

Published Friday 11 September 2009 at 13:55 by Kevin Berry

David Nixon revisits his interpretation of Bram Stoker’s novel Dracula for the 40th anniversary of Northern Ballet Theatre. It is one of a number of choice dips into the company’s repertoire in this landmark year.

Nixon takes a close look at the attraction of Count Dracula and the nature of his power. The first act is still rather episodic, indeed sporadic, a comment made when this ballet was premiered. But the second act has a fluent plot line and soon picks up urgency. The criss-crossing narrative movement of four pursuers, led by Professor Van Helsing, is very effective. Dracula’s three brides have a luscious, slinky, panting style, rather like a predatory pack.

Christopher Hinton Lewis plays Dracula and he makes remarkable use of a huge bat-like cape, not merely going through predictable motions, but using it to create a shape-shifting creature. He slides and glides and slithers, and he sometimes seems to hover. He brings with him sexual excitement and great sexual danger. There is no doubting his magnetism.

Hinton Lewis has a ravishingly smooth but emotionally revealing pas de deux with Martha Leebolt’s Mina. A choice has to be made and Dracula recognises the inevitability of what he must do.

Costumes and sets are exemplary. Excellent use is made of ground-hugging mist, particularly at the cemetery where Dracula and the doomed Lucy feed on each other’s blood. This production is handsomely staged. It has a believable degree of tension and it drips with fear.

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