As the programme states, the intention of this production is to "strip 'Dracula' of the paraphernalia of camp horror that has clung to it for so long", and with atmospheric lighting design and clever, if minimal, use of the adaptable OFS stage, they have indeed created a production of which to be proud. Yet far from the "stark, authoritative and terrifying" creation they aspired to, 'Dracula' wrought forth at times raucous laughter, as the competent and straight-faced delivery of too-oft satirised lines tickled the collective filthy mind of the assembled audience.

This should not, however, be held against them, for whilst a little too long, the production held our interest and curiosity throughout. The cast as a whole is strong, although not without fault, and the lack of projection, and tendency of many members to hang their heads was at times frustrating as the audience looked down upon muttering faceless hair-do's. As Lucy and Mina, the two main victims of the evil Count, Cat Ward and Cara Cotner brought an energy occasionally lacking in other individuals. Their first scene, although somewhat masked by the balcony railings, conveyed a real sense of affection between the two characters, and despite some fluffed lines the pair admirably enlivened the production, dealing well with their somewhat stereotyped roles. Joe Winters as Van Helsing similarly achieved the difficult feat of injecting life and interest into his superstitious, vampire-obsessed character.

Yet any criticisms are ultimately negated by the up-sides of this production, and it seems fair to say that 'Dracula' is an accidental comedy. Falling somewhere between Hammer Horror and Rocky Horror, it is full of unwittingly hilarious elements. Mina obsessively train-spots, crying "I know all the railway timetables"; Robert Marshall as the (almost) Yorkshire Swales is a pure 'Fast Show' wannabe; Quincey was born to be in 'Ghostbusters!'; and Van Helsing's attempt to remove the head of a vampire woman with a saw was never going to reach the peak of terror the director seems to have hoped. Even Dracula himself lacks the sexual power the role demands and at times lurches toward the comedic: A "man-demon hybrid" he may be, but with eyeliner like that, the "paraphernalia of camp" was never going to get more than a footstep away. Yet despite such quibbles, the production is slick, the direction well worthy of praise, and there is little in the technicalities or acting which will not be solved by the energy of the run. Despite its inconsistencies it is fun to watch, and whatever its aims, that is surely all that is really required of it.

Rebecca Smith 20/11/01