Ballet West’s newest production “Dracula” could be the newest tradition for the Halloween season. Although it is no “Nutcracker” – there are too many fangs and not enough tiaras to claim the hearts of ballerina wannabes— the ballet, with its’ luxurious sets and costumes and its’ fast pacing, will withstand time.
To say that Ben Stevenson’s “Dracula” is endearing insults the concept that this is a scary ballet, but the production certainly has moments of quaintness. The pyrotechnics which Ballet West has been talking up so much turn out to be nothing more than four poofs (admittedly, they are very loud poofs) of smoke and light. The ‘spectacle’ occurs at a dramatic moment when tittering is not appropriate, and yet there were definite giggles in the audience. The flying tricks, also highly anticipated,were slightly more successful. The dancers were swept into the air a little bit slowly, but that suits the classical form just fine. Although far from juvenile, the sometimes faltering techniques are a welcome reminder that “Dracula” is a ballet, not the newest Spiderman production.
Stevenson throws away anything extraneous in the plot of the original “Dracula” text, written by Bram Stoker in 1897. He jettisons many minor characters and subplots and the resulting storyline is easy to follow and proceeds speedily. Stevenson holds true to the text though in the ambiguity which addresses the sexuality implicit in Dracula’s actions. Stoker writes:
“(Dracula’s) right hand gripped her by the back of the neck, forcing her face down on his bosom. Her white nightdress was smeared with blood, and a thin stream trickled down the man’s bare chest which was shown by his torn-open dress. The attitude of the two had a terrible resemblance to a child forcing a kitten’s nose into a saucer of milk to compel it do drink” (Stoker, Bram. “Dracula”. p. 313).
The physical forcefulness and the suggestive descriptions allude to a perverse sexuality. Stevenson translates this text into movement by having Dracula straddle his bride-to-be Svetlana. He writhes over her body just enough to be as vague as the book, leaving the audience to interpret the action as sexual or merely forceful according to their own predilections.
Where the above instance of choreography seems safe, Stevenson’s other artistic choices are modestly in good taste. The corps de ballet is blank-faced group of women in organized rows with epaulment choreographed to the last finger. Dressed in a material that seemed to pull at the air as though under water, they fill the stage for most of act 1 with slowly descending battements and the most elegant zombie walks ever executed. Dracula’s chocolate brown cape creates a dark hole amongst the vampire brides when he spreads out his expansive wingspan. Although the production is predominantly outfitted in shades of brown, black and white, it is richly vibrant, a gothic magnificence.
To be truly frightening, the ballet would have to leave behind tradition of the art form and look to current cinema for fright tactics. Instead, gore is used sparingly and scares are all in good fun. Zombies maintain an ethereal quality so beloved by patrons who mark their ballet seasons by reprisals of “Swan Lake.” Like a roller-coaster ride where you scream with a smile, “Dracula” makes blood-sucking look like a good time.
Sofia Strempek is a BFA candidate at the U, she writes for the Daily Chronicle and interns for loveDANCEmore
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