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Stars explained: * A production of no real merit
with failings in all areas. ** A production showing evidence of not
enough time or effort, or even talent, and which never breathes any real
life into the piece – or a show lumbered with a terrible script. *** A
good enjoyable show which might have some small flaws but has largely
achieved what it set out to do.**** An excellent show which shows a
great deal of work and stage craft with no noticeable or major
flaws.***** A four star show which has found that extra bit of magic
which lifts theatre to another plane. |
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A deadly serious tale of horrorDracula
Dudley Little Theatre Netherton Arts Centre *** WHAT a shame!
It can happen to anybody, of course, but on the first night it happened
to the perennially reliable John Lucock, longstanding stalwart of this
talented group. Fifteen minutes before the end of a wordy evening, his
words unaccountably disappeared, leaving him in a totally
uncharacteristic duet with prompt corner. It became even more surprising when Fate's victim, the script having briefly required him to take his leave, then came on again with his customary confidence. You never know. You really never know – which is
why, even if I had any acting ability, you would never find me
pretending I had any hope whatever of remembering my lines. It is also
why I salute all those thespians, amateur and professional, who seem to
take the nightly challenge in their stride – as John Lucock has
habitually done for years. And it was a particular shame, because until then
this production by Lyndsey Parker and David Hutchins had given every
indication of rolling without a push. Bram Stoker's drama, adapted by
David Calcutt, has more short scenes than you could shake a stick at,
but they follow each other with commendable slickness and their content
is well oiled. Moreover, at no point does melodrama get the
upper hand. Nowhere, in a subject ripe for mickey-taking, is there a
hint of a titter. This is a deadly serious Dracula of controlled
confidence, with a cast of thousands – well, 22 – among whom John Lucock,
until those unfortunate few minutes, had been giving a solidly reliable
account of Professor Van Helsing.
James Silvers is a Dracula of quiet menace who
regards his situation with “terrible joy, insatiable hunger.” There is
sterling work, too, from Karen Whittingham as Lucy, the first victim of
the Prince of Darkness; and David Hutchins makes a remarkable
contribution of madness as Renfield, the clearly deranged character who
likes eating flies, spiders and birds – alive. At one point, he
virtually takes us into the realms of Shakespearian oratory. Liane Purnell (Mina), Jean Potter (Mrs Westenra),
Christopher Hughes (Dr Seward) and Tony Stamp, who at one point is
required to demonstrate that Jonathan is a quite remarkably sound
sleeper, are also prominent – but there are many other honest toilers
making it all seem so natural and so easy. Claire Heatherington's Mrs Outhwaite is not
required until late-on – at which point she moves unfalteringly into a
challengingly loquacious few minutes, solo. And young Ollie Clee – “Boy”
– takes on his own soliloquy head-on as he sits with his legs dangling
over the front of the stage and addresses the audience. Excellent! Just briefly unfortunate. To 11-12-10
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