Regina Little Theatre

Theatre you can sink your teeth into
Nov 20/06

Okay, do I have everything? Corset: check. Feather boa: check. Fake eyelashes: check and check. But where did I put those fishnet stockings? Don’t mind me – I’m just getting ready to go to the theatre. Yes, I know it sounds like I’m getting ready to walk back and forth on the street outside the theatre, but I assure you that’s not the case.

There’s a fine explanation for the vixen ensemble: it’s almost Hallowe’en and the RLT is putting on a production of Dracula. “But Sabbie, you’re not in the show,” you’re thinking. True, but give a theatre gal any opportunity to break out her tickle trunk o’ costumes, and she will. Plus, all the cool kids are doing it.

Now, where is that picture? Ah, here it is. Are we cute or what?

The theatre is a master of illusion. Its goal is to make productions seem effortless from an audience perspective. But what really goes on behind the scenes? What does it take to put a production together and what is it like to be involved?

Sabrina Cataldo will explore this hidden side of the theatre in her blog, Backstage with Sabbie: A behind-the-scenes romp through the theatre world.

As I put on my insanely high platform heels (Note to self: do not drink tonight; you may fall off your shoes and die), I wonder what the show will be like. For months, I’ve heard about director Murray Hugel’s vision of the show, one which consumed his life for the past four years and included setting the production “three centuries and one apocalyptic event into the future.”

Of the costumes, I’ve heard the words “mesh”, “pleather”, and “every character gets his/her own colour.” Um…okay. I want to keep an open mind, but I can’t help but think, “This is either going to be really good, or very, very bad.”

Fortunately, it was more than good – it was a great show (and the costumes were really cool, too). This was the most ambitious technical show I’ve seen at the RLT, and the acting was exceptional. Murray pulled together a strong ensemble cast with a good mix of new and veteran actors. Dracula wasn’t just a performance, it was an experience.

Microphones captured the subtleties of vocal characterization and even the actors’ breathing, adding to the show’s intensity. Live musicians onstage provided a musical backdrop for the production and created an atmosphere of fear and anticipation. Stage manager Pat Wilson and her backstage crew deserve major props for the numerous sound and lighting cues – I was in awe of the expertise it took to keep this technically complicated show running smoothly. They deserved a standing ovation.

There was an undercurrent (or should I say an overcurrent?) of sexuality in this play. Some scenes, particularly those between Dracula and the women, left me longing for a cigarette, and I don’t even smoke. I thought this was appropriate; I’ve always felt Dracula is, at heart, a commentary on female sexuality, the dichotomy between the virgin and the whore, how society expects women to behave, and the perception that the sacrament of matrimony can save even a fallen woman… You know, don’t get me started on this – I’m an English major, so I could go on all day (and trust me, I do.) If you ever want a detailed literary critique of any of RLT’s plays, just find me at the Green Room party on the Friday night of a production, and I’ll give you an earful.

It was the acting in this production that made it something special. The show was well-cast across the board, but there were a few performances that stood out for me. Lyndon Bray’s portrayal of the madman Renfield was intense. The energy and commitment he brought to this role had my jaw on the floor. It felt all-consuming, electric, and exhausting. I was also impressed that he spent much of the play on stage, unmoving, while other scenes were taking place. I wondered what he was thinking about. (Lyndon, care to drop me an e-mail to tell me?)

I was impressed with Martin Krieser as Jonathan Harker. He used body language and vocal quality to show Jonathan’s transformation from Mina’s sweet fiancé to a fragile, broken shell of a man, to the hero who finds the emotional and physical strength to kill the vampire and save the day. Martin wasn’t afraid to show emotion and vulnerability, particularly in the scene where Jonathan has gone mad. I’ve never felt so much sympathy for a character.

Kenn McLeod was enigmatic as Dracula. For the first part of the show, he was a disembodied voice, a shadowy figure in the darkness. A spotlight swept over the crowd, and when it returned to the stage, Dracula was just there, as if by magic.

Coolest. Entrance. Ever.

Kenn’s strong stage presence added to the role; in the scenes where he appeared to draw other characters to him, I could feel his magnetism in the audience.

Another performance that generated a lot of buzz was Blaine Lucyk as Old Count Dracula. Unfortunately, the night I went, Blaine’s microphone was not working. I could tell that he had put a lot of work into his characterization, but I didn’t get the full effect without the sound. My brother went the next night (Hi Joe!) and I asked him what he thought of the show. The first thing he said was, “I don’t know what it was, but there was something about Old Dracula that was just…good.” He was not alone in that opinion.

I enjoyed the Vampire Vixens, played by Sharon Nowlan and Sherry Sagal, and it wasn’t just because I was dressed like one of them. They brought a lot of energy to the stage. In fact, I was told that after they “ate the baby”, the bar in the lobby experienced record drink sales. Hmmm…this could be something the RLT might want to explore for future shows. I wonder how that would work in Dear Santa?

I thought Meghan Pederson, who played Jonathan’s fiancé, Mina, shone in the second act. In the scenes where she was terrified, there were times when I could actually feel her fear.

It was great to see an actress new to the RLT, Rebekka Chartier, in a lead role as Lucy. Rebekka did a nice job of transforming Lucy into a demonic, fallen woman.

Mark Claxon played Abraham Van Helsing with religious fervour, eliciting an e-mail to my account from a patron who wanted to let someone know how much she enjoyed his acting.

Ryan McLeod brought some much-needed humour to the play in some of his scenes. His line, “Lucy, you have no pulse,” was quite the hit with the audience, providing a welcome break to the intensity of the show.

It’s been a long night, so if you don’t mind, I’m going to peel off these eyelashes, release myself from this corset, curl up with my one fan e-mail (Thanks, Doreen!) and go to bed.

(You can e-mail me, too – there’s a button to your right. It’s not as if I bite. Wait – so that’s where I put those fake vampire teeth! Okay, maybe I do bite. But I promise not to draw any blood.)