With my recent fascination with Gothic literature, when I found out that Blackeyed Theatre was bringing Nick Lane’s adaptation of Dracula to the Pavilion Theatre in Glasgow, I knew I had to see it. For Lane, Dracula is not the first Gothic classic he’s brought to the stage, previously adapting Frankenstein, Jane Eyre, and The Strange Case of Dr. Jekyll & Mr. Hyde.
On the 6th of May, I arrived early enough to take in the scenography. Designed by Victoria Spearing, the set featured raw wooden structures that sketched skeletal outlines of walls, doorways, and staircases, suggesting both the interior and exterior of a house. This framing of the dark, minimalistic backdrop was cloaked in haunting smoke, setting an eerie tone before the show had even begun.
As I studied the set, the bell rang and the lights went out. In that moment, I stopped analysing the technical details and, with high expectations and a sense of anticipation, tuned in fully to the sensory world about to unfold.
The silence was broken by overlapping voices. The repetition in tone and rhythm as the nature of a vampire’s existence was explained felt hypnotic. I was quickly immersed in the blood-chilling story. Just as the wooden frames defined the physical space, the reading of letters exchanged by the characters framed the narrative. Through those letters, we discover how naive and oblivious Jonathan Harker is to the signs that surround him as he arrives in Transylvania.
Pelé Kelland-Beau delivered a fantastic performance as Harker, making me genuinely worry for him and feel anxious for his fiancée, who may or may not see his return from Count Dracula’s castle.
The unsettling yet visually beautiful scenography and costumes, presented in a muted sepia and grey palette, continually reinforced the Gothic tone and a quiet sense of dread. The projection of letters added a sense of distance and suspense, offering the audience room to breathe between scenes where tension slowly built again.
It was only mildly frightening, however, and I found myself missing the moments where suspense should have reached a breaking point before being released. Should a Dracula adaptation be scarier? Perhaps — but even without jump scares or overwhelming horror, I enjoyed the production thoroughly.
The cast of six delivered strong, committed performances throughout, each actor fully embodying the eerie intensity of the Gothic tale. Marie Osman, in particular, stood out. She smoothly shifted between characters, capturing both the innocence and playfulness of Lucy Westenra and the unsettling madness of the asylum patient, Renfield.
Maya-Nika Bewley, who played both Mina Harker and Dr. Hennessey, gave an impressive performance. Most striking was her portrayal of Mina, in which she conveyed strength, determination, and quiet bravery. Mina’s recognition that her fate was bound to that of future generations — and her decision to prioritise their safety over her own — was powerfully portrayed.
The role of Count Dracula was shared between David Chafer, Richard Keightley, and Harry Rundle. Together, they captured the seductive yet terrifying essence of the vampire, expressing his magnetic but monstrous nature. It made me wonder: is it cruelty that drives him, or simply the instinct to survive?
Was the fact that Dracula was played by multiple actors confusing? It could have been — but it made sense after learning that drinking blood allows a vampire to preserve, or even reverse, the ageing process. The shifting actors reflected that eerie transformation.
This was a brilliant theatrical experience that left a lasting impression on me. As I walked home under the moonlight, startled by my own shadow, I couldn’t help but wonder: is there ever truly an escape from the darkness? And could a trace of vampire blood still be coursing through our veins?
Hi, I’m Julia Braun Raven, a second-year Journalism, Media & Creative Writing student. I’m co-Editor-in-Chief and Features Editor, and I love creating stories that matter to students, inspiring them, supporting what they’re passionate about, and celebrating their achievements. I’m especially interested in arts, culture, and student life, and I enjoy bringing energy, curiosity, and a love of storytelling to every piece I work on.