Issy Cory
As Dracula feeds on Lucy Westenra repeatedly across a period of weeks, the boundary between the two figures blurs beyond recognition. Flesh becomes flesh, blood becomes blood, and the unclean rages against the redemptive work of Lucy’s posse. Through seemingly impossible puppet-work, Plexus Polaire present a collection of vignettes to detail Lucy and Dracula’s dance with desire and death.
From the outset, it is obvious that the technical and practical elements of Dracula: Lucy’s Dream are its gifts. Projection instigates the doubling effect so characteristic of the Gothic, with moving images mirrored against a live Lucy, confusing the concept of reality and otherwise.
The doubling continues through some damn impressive puppetry. Introduced to us through a handspring black dog (iykyk), the puppetry evolves into full-blown life-size imitations of both Dracula and Lucy. Constant switching between actors and puppets pushes the questions of control, consent, and ownership over the body. It also allows for some unbelievable lighting design.
At first, the clever ‘switcheroo’ as the bed spins round, housing human Lucy on one side, then puppet Lucy on the other, is indeed clever. to begin with. After the fourth or fifth time, it’s a little tired. There are numerous moments in this production that could do with an outside eye to decipher what is adding, and what is superfluous flounce.
An outside ear would again have been welcomed with regard to the soundtracking of Dracula: Lucy’s Dream. I am all for a spooky backdrop of sound, however the entire score felt like a first draft of what it was intended to be. Strange circus-like chord progressions play over Lucy’s exorcism, creating such a jarring combination that it came off unfortunately funny. Some fine-tuning was needed; tuning being the key word… singers take note.
Overall, Dracula: Lucy’s Dream is trying to do too many things at once. It is advertised as a reimagining of Stoker’s text, then proceeds to use about six lines of the novel, half-heartedly interspersed throughout the narrative. With the surrounding action being so surrealist, so abstract, the dialogue fails to carry meaning in its fleeting appearances. Either lean into it, or don’t – but don’t try and do both.
The ensemble work extremely hard in this production; frankly the scenes featuring all of them together with the life-size Lucy puppet are the strongest. With such talent and creativity already existing in the live elements, why dilute the product with an over-saturation of flailing arms, moving walls, and badly-recorded creepy breath work. You can’t have your blood (?) and eat it.
Recommended Drink: Due to the amount of times we saw Dracula hone in on Lucy’s neck I’d say about three pints of virgin blood. Do they have that on draft here?
You can catch Dracula: Lucy’s Dream at Pleasance at EICC from August 21-29 from 17:30 (60mins). Tickets are available through the EdFringe Online Box Office.
Isobel Jacob
Esme Davis
Salvador Kent
