The opening night of the ballet adaptation of Dracula by BIG Live in Sydney has generated a divided response among audiences. Running until September 12 at the State Theatre and then moving to the Newcastle Civic Theatre from September 17 to 21, this production marks a departure from traditional ballet structures, opting instead for a privately funded, show-based model more reminiscent of musical theatre.
BIG Live, a relatively new entrant in the dance scene, has captured attention not just for its performances but also for its entrepreneurial approach. By blurring the lines between classical ballet and popular entertainment, the company has managed to attract audiences that typically overlook classical dance companies. Their performances, often sold out, highlight the appeal of this modern interpretation of ballet.
The choreography for this adaptation, created by Joel Burke, who also stars as Jonathan, condenses Bram Stoker’s iconic novel into a two-act ballet. While the narrative aims to entertain, it stops short of offering the depth and artistic sophistication that some audiences may expect. The first act is tightly composed, whereas the second act lacks tonal cohesion, despite the consistent highlight provided by the presence of four ghostly women.
Visually, the production excels with Eric Luchen’s gothic set design, which sets an appropriate atmosphere. The score, composed by Toby Alexander, features familiar classical pieces that aim to resonate with the audience. Yet, this reliance on well-known music, like Bach’s Toccata and Fugue in D minor, often distracts from the storytelling, leading to unintended comic moments. For instance, the haunting organ music elicited laughter from the audience, while the use of Tchaikovsky’s 1812 Overture during a critical moment left some questioning whether the ballet had taken a turn towards slapstick comedy.
The cast is predominantly composed of younger dancers, whose enthusiasm partially compensates for a lack of experience. While their performances are commendable, seasoned ballet-goers may find the overall execution lacking in depth. The standout performance comes from Ervin Zagidullin, a former artist with the prestigious Mariinsky Ballet, whose training in the Vaganova method brings a powerful technique and remarkable leaps to the role of Dracula.
The reception of this production highlights a broader conversation about the evolution of ballet and its place in contemporary culture. As audiences grapple with the balance between traditional artistry and popular entertainment, BIG Live seems poised to provoke both admiration and critique in its ambitious endeavor. The company’s innovative approach might not resonate with all classical ballet enthusiasts, but it certainly opens the door for new interpretations of timeless stories.
