Review: Dracula (Idle Muse Theatre)

  
  

“Twilight”, eat your heart out!

  
  

Edward Harch as Dracula and Nathan Thompson as Renfield in a scene from Idle Muse Theatre's 'Dracula'

   
Idle Muse Theatre presents
   
Dracula
   
Adapted by Steven Dietz
Directed by
Lenny Wahlberg
at
side project theatre, 1439 W. Jarvis (map)
through March 6  |  tickets: $15-$20  |  more info

Review by Paige Listerud

Idle Muse Theatre has captured the quintessential gothic vibe. Their production, Dracula, now at Side Project Theatre under the direction of Lenny Wahlberg, is traditional, to say the least. It slays because it is dutifully faithful to Bram Stoker’s vision and language, resonating with deep Victorian observations on human passion and the human condition. “Great men, like galaxies, end in dust,” quotes the supreme vamp himself, as he plays host to his unsuspecting guest, Jonathan Harker (Chris Waldron). Abraham Van Helsing (Brad Woodard) is the equal to the Count (Edward Karch) in weighty sentiments, especially when he warns John Seward (Brian Bengtson) not to reveal their secrets to “God’s madmen”—that is, just about everybody.

Edward Karch as Dracula in Idle Muse Theatre's production of 'Dracula'Gothic fetish aside, the real joy lies in witnessing Wahlberg’s young cast wield Stoker’s lush, dark language like mature, seasoned pros, adding those necessary flashes of humor at their critical moments. Of course, it helps to have Renfield (Nathan Thompson), the lunatic in Dr. Seward’s asylum, as your guide. Thompson maintains total and fierce control over Renfield’s twists, zipping from raving lunacy to childlike pleas–“May I have a kitten?”—never mind that Renfield, in possession of a kitten, is not an innocent thing.

But Renfield’s master also strikes a silent, controlling and imposing presence. As Dracula, Karch conveys the original deadliness of the vampire of vampires with icy elegance. The Count has aristocratic pedigree and a living recollection of history but he is much closer to Nosferatu in raging animalism. Here is fresh relief from the mooning, insipid vampires of “Twilight” and “Buffy the Vampire Slayer”. The original Dracula makes them all look like pussies. Here is sex as danger, real danger, danger for the both physical body and the immortal soul.

Idle Muse’s production starts off very strong. The sensual and witty Victorian friendship between Mina Murray (Alex Fisher) and Lucy Westenra (Stacey Sublette) is established immediately, along with Mina’s powers as an uncommonly independent woman and Lucy’s driving romantic passions. In fact, it’s rather sad that one of them has to get staked—Fisher and Sublette really make a great team. Meanwhile, Chris Waldron’s portrayal of Jonathan Harker is dead-on as the fresh-faced Englishman who has no clue what awaits him in Transylvania. Bengtson’s Seward may be a little on the stiff side, but in some ways that’s apt for a character that is all ideals and naïve faith in science and rationality. Woodard, for his part, gives us a younger, more vigorous Van Helsing than we’re accustomed to from film—but that too, is a very good thing. With only a little more knowledge of vampire lore on his side, his hunt for Dracula proceeds almost on equal footing with Seward and Harker.

Where the play begins to wobble a bit is in the second act. Fisher is wonderful as the bitten Lucy but getting to the final showdown proves too much for Steven Dietz’s adaptation. Stoker’s novel has Dracula’s demise take place on a racing wagon with Lucy’s three suitors delivering the strategic deathblows. Nothing like that can take place at the Side Project’s storefront space. But the company might want to look into other special effects to stage the death of the Count. Spectacular evil deserves a spectacular end. That is the way we mere mortals honor it.

  
  
Rating: ★★★
  
  

Nathan Thompson as Renfield in a scene from Idle Muse Theatre's 'Dracula'.

 

Artists

 

Cast

Alex Fisher as Mina Murray
 Chris Waldron as Jonathan Harker
Stacey Sublette as Lucy Westenra
 Brian Bengtson as John Seward
Nathan Thompson as Renfield
Brad Woodard as Van Helsing
Eddy Karch as Dracula

Ensemble: Mara Kovacevic, Liz MacDougald and Matthew Gibson

Creative: Lenny Wahlberg (Director), Evan Jackson (Assistant Director), Greg Poljacik (Fight Choreographer)

 

  
  

REVIEW: Jerry and Tom (Idle Muse Theatre)

Searing thriller or side-splitting farce?  Who knows.

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Idle Muse Theatre Company presents:

 

Jerry and Tom

By Rick Cleveland
Directed by Lenny Wahlberg
At the side project, 1439 W. Jarvis Ave.
Through March 21st
(more info)

Reviewed by Ian Epstein 

It’s unclear what brought Jerry (Matt Dyson) and Tom (Brad Woodward) together.  It’s unclear why they’re both in the line of work that they’re in.  It’s unclear who the man with the black bag over his head with his hands bound behind his back, sitting in the spotlight, is (though the role of corpse-recurrent is played by Brian Bengston). 

JT4 But it is clear what will happen to the man in the black bag when the phone rings and it is clear that Tom has done this many times before–has answered the phone, has green-lighted close quarters death by buckshot – even if Jerry, wielding the weapon like an amateur with a baton in a parade, is the one playing our trigger-prone young hot shot. And what is the natural response of our corpse-in-waiting to impending assassination? Tell bad animal jokes.

As the rest of the play unfolds in multiple vignettes spanning years of training and development as a team, it becomes clear that Jerry and Tom are hitmen.  They’re not your thrilling, glamorous, Hollywood hitmen living life bruised and wandering the world over with forged identities or double-O assignments. And they’ve got no clear relationship to the comedic cat-and-mouse duo Tom and Jerry.  Nope. These are just your everyday hitmen, with kids and wives and all the burdens of regular life tucked away offstage and only occasionally discussed in the long spells of waiting to kill-off targets of indeterminate importance for a clandestine, potentially criminal organization with unknown leadership.

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Lenny Wahlberg‘s directing would benefit from tidier, tighter transitions, although good blues in the dark does provide some enjoyment to audience members stranded in it.  Rick Cleveland‘s script overflows with crude situational jokes and it’s never clear whether the show is supposed to be taken seriously or comedically, as it lacks the high-stakes pacing, poetry or strong choice direction to support being a drama and accomplishing both.  Though the program explains the duration of time between scenes, they unfold so similarly that there’s no apparent logic that justifies the jumps in time and the play feels instead like a linear litany of melodramatic death after death after death.  If Idle Muse Theatre’s Jerry and Tom was trying for a searing, seat-gripping, anxious thriller (like Anthony Shaffer’s Sleuth), it didn’t succeed.  If Jerry and Tom was trying for a side-splitting Chaplin-esque romp where the same character dies again and again and again and can’t seem to escape death, it came closer but ultimately failed to elevate the stakes high enough to become that kind of farce.  In the end, we’re just annoyingly disinterested.

 

Rating:

 

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Tickets are $20 for adults, $15 for seniors. Thursday nights are industry nights. $5 ticket with headshot/resume.  Running Thursday, Friday, and Saturday at 8:PM, Sunday matinee at 3PM, through March 21.

Cast: Jerry – Matt Dyson, Tom – Brad Woodard, and Billy, Karl, Vic, etc. – Brian Bengston.

Design Team: Lighting Design: Steven Hill, Fight Choreography: Greg Poljacik