Kate Hamill has been taking the literary classics-to-stage adaptations by storm these past few years, and Fresno State University continues its run of one her more-recent titles, Dracula: A Feminist Revenge Fantasy, Really. With stellar direction by J. Daniel Herring and a universally focused and horror-motivated technical design team, the Dracula is set up for bloody success in this gruesomely enjoyable production.
(Up Center-Steven Kairuz (Dracula), Down Left and Clockwise- Nico J. Diviccaro (Dr. Seward), Paulina Marin Contreras (Dr. Van Helsing), and Chloe Mae Tabor (Mina Harker); Photo source: University Theatre)
Herring has assembled an earnest cast containing a unifying quality which catapults them beyond simply portraying iconic literary characters: a uniquely defined and completely expressed energy each time they’re on stage. With every entrance, from Dracula (played by a calculatingly cool and utterly charming Steven Kairuz), or the spunky Dr. Van Helsing who, in this adaptation is gender-bent to be portrayed by a female-presenting actor, is expertly played with a long-game engaging arc by Paulina Marin Contreras, the audience is treated to the characters from the page appearing fully-realized on the stage. The intimacy of the Dennis and Cheryl Woods Theater helps bring the audience into the various locales our central characters traverse, making the thrills, humor, and love stories blossom more than one would expect.
(Back to Audience-Paris Elise Richards (Lucy); Up Stage-Beyonce Rodriguez-Fabela (Drusilla) and Melanie Desirre Olguin (Marilla); Photo source: University Theatre)
Chloe Mae Tabor and Paris Elise Richards are dynamite as Mina Harker and Lucy Westenera, respectively. Mae Tabor’s dialect is among the strongest in the cast and, with that, allows for an immediate urgency for the audience to stick with Mina’s journey of losing her husband to the powers and influence of Count Dracula. Mae Tabor is an expert in giving the full breadth of character development while never disrupting the depth of Mina’s drive and motivation for every decision that is made. Elise Richards takes on a more traditional ingenue-esque role in Lucy but eliminates any drab or stock portrayal which plagues so many female roles in classic literature. Elise Richards carries a full tank of emotional wealth that is on fine display in both the quiet and very loud moments.
(Molly Smith (Renfield); University Theatre)
Molly Smith delivers a simply outstanding, exhausting, and altogether show-stealing performance as Renfield. Rarely leaving the stage, Smith gives a master class in marathon-level endurance for acting, reacting, and monologuing. There were many moments where my eyes were locked on how Smith was reacting to the primary plot happening. What the audience is privy to is enthralling character work no matter which performance(s) you are watching; and Herring ensures the audience always knows where to look and what to listen to as to encourage the full-range enjoyment of the cast.
(L to R: Nico J. Diviccaro (Dr. Seward), Jorge Romero Vaca (Jonathan Harker), Chloe Mae Tabor (Mina Harker), and Paulina Marin Contreras (Dr. Van Helsing); Photo source: University Theatre)
Featured highlight performances come from the fully committed and scintillating duo of Beyonce Rodriguez-Fabela and Melanie Desirre Olguin as sisters-in-Dracula’s-captivity, Drusilla and Marilla, respectively; Jorge Romero Vaca’s loveable, earnest Jonathan Harker; and Nico J. Diviccaro’s bumbling, comedic turn as Dr. Seward. Nubci Her rounds out the cast in the multi-role track as Maid/Merchant/Miller and does finely in distinctively portraying each role as their own, with Her’s Miller providing a well-crafted arc from beginning to end.
(Standing-Nubci Her (pictured as Maid), Laying-Paris Elise Richards (Lucy); Photo source: University Theatre)
Rene Nielson’s scenic design is fabulous in how detailed and spacious its construction is. Several tomb-looking pieces serve as tables and beds, never letting the audience forget that death is always just around the corner in this story. Maggie Walker’s costume design is outstanding, nailing the style and period with aplomb and matching each character’s energy with visual appeal. Joel Alaniz Ayala’s lighting design is exactly what the Count would want, being equal parts spooky, intimate, and thrilling. The use of reds and shadows specifically invigorate this production by giving Herring plenty of moments to be just as plot-propelling in the scene transitions as the book scenes. Jorji Brookey’s sound design is precise, mood-setting, and includes several music choices which elevate the climatic fight scene to a rousing level of enjoyment (yes, there’s blood, don’t worry.)
(L to R: Nico J. Diviccaro (Dr. Seward), Chloe Mae Tabor (Mina Harker), and Paulina Marin Contreras (Dr. Van Helsing); Photo source: University Theatre)
It is safe to say you’ve never seen a Dracula like this before, so do everything you can to make it over to Fresno State University this week to catch the mayhem and gore in this adaptation that honors the spirit of the novel, direction and technical design that are strong in their pacing and vision, and an acting company honoring the notable characters while making them their own. Go see this show!
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