Theater review: Ten things to love about a stylish ‘Dracula, a Feminist Revenge Fantasy, Really’ at Fresno State
By Heather Parish
Kate Hamill’s stage adaptations of classic literature can be hit-or-miss with me. Sometimes their freshness and humor complement the story incredibly well (“Sense and Sensibility”). Other times, they reduce the source material to cynical pandering (“Pride and Prejudice”).
I’m glad to say that Fresno State’s University Theater production of Hamill’s “Dracula: a Feminist Revenge Fantasy, Really” is in the first category. This production, directed by J. Daniel Herring, is stylish, fun, and true to the spirit of Bram Stoker’s tale while having its unique point of view.
Here, in no particular order, are the elements I enjoyed most:
The Atmosphere: “Dracula” is always best with copious amounts of fog and red lighting. A crypt-yard scenic design by René Nielson and shadowy lighting by Joel Alaniz Ayala provide images more evocative than any I’ve seen in the theater for a while. Bonus points go to Jorji Brookey’s on-point sound design, which elevates the eerie atmosphere.
The Physicality and Vocalization: The movement and vocal work Melanie Desirre Olguin (Marilla) and Beyoncé Rodriguez-Fabela (Drusilla), Dracula’s fiendish “wives,” is an orchestra of grunts, growls, hisses, expulsions, swipes, crawls and threats worthy of a colony of feral cats. The rest of the cast also uses their range of voice and body, which is such a pleasure to watch that I overlooked the difficulties with the accents. And then there’s the screaming. Oh, my god, the SCREAMING. Next level screaming in this show!
Mina and Lucy: Whether they are bickering like siblings or discussing their marriage prospects, Mina (Chloé Mae Tabor) and Lucy (Paris Elise Richards) make winning scene partners. Their connection is palpable and they each serve up fully developed characters from the start.
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Van Helsing and Renfield: Making these two characters women is one of the genius moves of this adaptation. Renfield (Molly Smith) sets the scene with a spine-tingling first appearance and brings the play home with a chilling exit. Paulina Marín Contreras’ Van Helsing is a powerhouse presence from her first dramatic entrance.
Van Helsing and Seward: The way that Contreras and Nico J. Diviccaro (as Dr. Seward) play off of one another is a crackling delight. The stakes (no pun intended) rise with each parry in their battle of the sexes.
Mina and Van Helsing: By the end of the first act, the undead are stacking up and it is clear that Mina and Van Helsing are the dynamic duo that will set this “Dracula” on its ear. The contrast between Contreras’ bravado and Tabor’s pertness makes their scenework sing. The fact that Tabor can move quickly between action and reticence helps propel the plot forward at a clip.
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The Comedic Timing: Yes, comedy. This show balances the creepy with copious amounts of comedy, and luckily the cast can deliver. Dracula (Steven Kairuz) and Jonathan Harker (Jorge Romero Vaca) establish a sparkling-if-threatening rapport early on, sprinkling double entendres and innuendo in every corner of the stage. Add in Diviccaro’s impeccable comedic timing and Tabor’s uncanny ability to deliver reactions and punchlines, the laughs come at the right moments.
The Horror Story: There is plenty of horror to find in this “Dracula,” as well. Smith’s Renfield is an ever-present reminder of the horrifying madness that comes with oppressive expectations and living at the mercy of another’s approbation. Renfield remains onstage for most of the action, hovering as a cautionary tale as the story unfolds.
The Feminism: Every female role in this adaptation has some feminist lesson to portray, and Hamill’s script ties them together pretty seamlessly. Even Nubci Her’s supporting portrayals of Maid/Merchant/Miller illustrate the ways women become complicit in the exploitation of other women by functioning in a system that oppresses them all. To Herring’s credit, his direction lets the feminism tell its own story and make its own connections with the audience.
The Production Note: My favorite grace note, though, is the Production Note, which bypasses the usual vague explanation of theme or concept and instead gives a list of reasons why humans are attracted to horror stories. The audience gets to observe the play and decide for themselves what they take away from “Dracula,” feminist revenge fantasy or not.
“Dracula, a Feminist Revenge Fantasy, Really” runs through Saturday, Oct. 5, at Fresno State’s University Theatre.
havestandards
This play is horrendous, just absolutely atrocious, and feminism deserves better than this milquetoast treatment and a couple of poorly shoe-horned lecture. Yeah, grrl power, van Helsing is here to kick ass and don’t u call her lady! Fucking try, it’s like the play was written by chatgpt. The final moral about men and power doesn’t work since, ya know, the man had been mind controlled. But whatever, we’re at the end, and having women do a stabbing means feminism! Try harder. Try. I’m disappointed in all these positive reviews: have standards.