Cynthia Erivo, fresh off her show-stopping turns as Elphaba in the critically acclaimed Wicked film musical and its upcoming sequel, is now taking on a new, formidable challenge on the West End stage. She’s currently starring in a bold new production of Bram Stoker’s Dracula, a role that sees her embodying a staggering 23 distinct characters. This ambitious undertaking is achieved through a clever integration of pre-recorded on-screen performances and Erivo’s captivating live stage presence.
Leading up to the official opening, the theatre scene buzzed with reports from preview performances, with some audience members reportedly expressing dissatisfaction with the perceived use of an autocue. However, as the reviews have rolled in, any lingering concerns about teleprompters seem to have faded, with critics largely acknowledging Erivo’s unwavering conviction and formidable talent as she navigates the multitude of roles. While Erivo’s performance is earning widespread praise, the production itself has garnered a more mixed reception, with many critics suggesting the creative team may have aimed a little too high with this particular adaptation.
Here’s a breakdown of what the critics have been saying about this new take on Dracula:
A Herculean Feat of Performance
The Times (4/5) initially noted that during early previews at the Noël Coward Theatre, whispers suggested the Wicked star was facing difficulties with the intricate dialogue and cues required to portray all 23 characters, some live and some pre-recorded. Concerns were raised about the visibility of teleprompters on stage. However, by the time of the press preview, these issues appeared to have been resolved. While Erivo reportedly fumbled a few lines, her overall performance was described as a commanding display within a production that artfully blends theatre with cinema.
Metro (4/5) highlighted Erivo’s performance as the most predictable yet outstanding element of the evening. They described her as magnetic, meticulous, and emotionally adept, managing to inject moments of humour and menace despite the immense technical demands of the role. Nevertheless, the review acknowledges that such a feat has inherent limitations, with some potentially resonant moments feeling rushed or superficial due to the sheer complexity of the performance.
The Telegraph (4/5) echoed the sentiment about the autocue, stating that while one was still present, Erivo now appeared word-perfect. Their only minor criticism was that her rendition sometimes leaned towards flatness. Despite this, they lauded her effort as a monumental achievement, akin to climbing a mountain, and a testament to the enduring power of British theatre.
The Standard (4/5) lauded Cynthia Erivo’s performance as extraordinary and shape-shifting. They noted how the Wicked star adeptly juggled costumes and accents, seamlessly interacting with on-screen versions of herself in a whirlwind 120-minute journey through the Gothic narrative. Her performance, they concluded, masterfully balanced virtuosity with a touch of the absurd.
The Daily Mail (3/5) described the show as mind-bogglingly complex, aiming for an audio-visual hallucination that goes far beyond conventional theatrical experiences. However, they felt that old-fashioned suspense was lacking, with the plot’s predictability diminishing its impact. Despite this, they offered their admiration to Erivo for her incredible effort.
Time Out (3/5) pointed out that the sheer scale of the pre-recorded screen elements, with as many as four gigantic versions of Erivo appearing simultaneously, tended to overshadow the technically impressive live performance on stage.
London Theatre (3/5) acknowledged that Cynthia Erivo deserves significant praise for tackling such a demanding and relentless role. The reviewer recognised the immense challenge of constantly switching personas, interacting with prerecorded versions of herself, and hitting specific marks for the cameras. However, they felt that in a production that places such an enormous burden on its lead, there was a pervasive sense that the show might be overwhelming its star. The review suggested the dense script could have benefited from further refinement, noting that Erivo sometimes rushed through passages and occasionally stumbled. While acknowledging that these issues might improve over the run, the reviewer expressed concern about the performer’s ability to consistently deliver.
What’s On Stage (3/5) offered a more critical assessment, describing the production as slick and soulless, prioritizing appearances over substance. They found a distinct lack of jeopardy and genuine drama, questioning what the audience was applauding beyond Erivo’s individual brilliance. The review concluded that Erivo deserves a far more compelling production, one with more “red meat” rather than a “bloodless, soul-sapping affair.”
Radio Times (3/5) attributed the show’s overall score to a balance between Erivo’s five-star performance and a one-star production. They found that, much like the titular vampire, the production was left stranded in a state of limbo – neither fully alive nor entirely dead.
The Guardian (2/5) felt that despite the production’s pace, the atmosphere remained sedate, lacking the necessary feverish intensity and peril. They found the characters to be overly simplistic, bordering on comical. Furthermore, Erivo’s extensive narration was perceived as a distraction from her acting, resulting in a performance that was too neutral in its physical and facial expressions.
Dracula is currently playing at London’s Noël Coward Theatre until Saturday, May 30th.
