Dracula: Mina's Reckoning review
A groundbreaking and distinctively Scottish retelling of Bram Stoker's classic novel

It's nearly 40 years since Liz Lochhead produced her landmark stage adaptation of "Dracula", said Joyce McMillan in The Scotsman. So it's "more than time" for another "groundbreaking", modern and distinctively Scottish response to Bram Stoker's novel from a brilliant female writer. Morna Pearson's "Dracula: Mina's Reckoning" – which had a run at His Majesty's Theatre, Aberdeen, and is now touring – moves the action from Whitby to Aberdeenshire, an area Stoker knew well. The play is "shot through with the profound questioning of gender identity" – it employs a cast of female and non-binary actors – and focuses on the devoted friendship between Lucy Westenra and Mina Murray, and their "rebellion against the looming constraints of respectable Victorian marriage". It all makes for a "magnificent" drama.
Director Sally Cookson's intense and fast-paced staging of this "impressive" horror thriller is "frankly incredible", said David Pollock in The Stage. "The cast moves urgently, sometimes frantically" around designer Kenneth MacLeod's set, with its industrial gangways, ladders and ramps, and two imposing peaks of rock. Benji Bower's "stark, surging score" helps conjure an eerie filmic atmosphere. And the "outstanding" lighting and video design brilliantly transport us from Victorian asylum and creepy vampire lair to the craggy silhouette of Slains Castle, while a psychedelic projection conveys "a sense of mental and spiritual disorientation".
There are points where the play loses "narrative energy", said Mark Fisher in The Guardian. But there's no denying the excellence of the staging or of the performances. Liz Kettle is particularly good as Dracula: this is a monster with sinister power and bleak wit. Danielle Jam also excels, bringing a "convincing intellectual and spiritual restlessness" to the part of Mina, said Mark Brown in The Daily Telegraph. It is a gripping production, and it climaxes with "an extraordinary, feminist coup de théâtre. To divulge it, however, would be a crime deserving of a vampiric visitation."
The Week
Escape your echo chamber. Get the facts behind the news, plus analysis from multiple perspectives.

Sign up for The Week's Free Newsletters
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
From our morning news briefing to a weekly Good News Newsletter, get the best of The Week delivered directly to your inbox.
Touring until 28 October; nationaltheatrescotland.com. Rating ****
Sign up to the Arts & Life newsletter or reviews and recommendations
A free daily email with the biggest news stories of the day – and the best features from TheWeek.com
-
10 concert tours to see this fall
The Week Recommends Concert tour season isn't over. Check out these headliners.
-
A tour of Sri Lanka’s beautiful north
The Week Recommends ‘Less frenetic’ than the south, this region is full of beautiful wildlife, historical sites and resorts
-
Giorgio Armani obituary: designer revolutionised the business of fashion
In the Spotlight ‘King Giorgio’ came from humble beginnings to become a titan of the fashion industry and redefine 20th century clothing
-
Downton Abbey: The Grand Finale – a ‘comfort’ watch for fans
The Week Recommends The final film of the franchise gives viewers a chance to say goodbye
-
The Paper: new show, same 'warmth and goofiness'
The Week Recommends This spin-off of the American version of The Office is ‘comfortingly and wearyingly familiar’
-
Rachel Jones: Gated Canyons – ‘riotously colourful’ works from an ‘exhilarating’ painter
The Week Recommends The 34-year-old is the first artist to take over Dulwich Picture Gallery’s main space
-
Born With Teeth: ‘mischievously provocative’ play starring Ncuti Gatwa
The Week Recommends ‘Sprightly’ production from Liz Duffy Adams imagines the relationship between Shakespeare and Christopher Marlowe
-
Art review: Lorna Simpson: Source Notes
Feature Metropolitan Museum of Art, New York City, through Nov. 2