New Line Theatre’s “Dracula” is a Gothic guilty pleasure

“Dracula,” a musical composed Frank Wildhorn with book and lyrics by Don Black and Christoper Hampton is getting its regional premiere by New Line Theatre. The much-maligned musical opened to mostly negative reviews on Broadway in 2004 and ran for 154 performances. Following the Broadway closing, and some significant rewrites, the show enjoyed greater success on international stages. Despite the inconsistencies with the score and book, New Line’s production of “Dracula” is an entertaining guilty pleasure thanks to the significant chemistry among the principal actors, the vocal performances of the cast, and the macabre choreography, set and lighting design.

Cole Gutmann’s exotic portrayal of Dracula is seductive and sensual. The chemistry between Gutmann (Dracula) and his victims is striking and ostensible. His confidence, presence, and steely demeanor are all palpable. Gutmann’s controlled delivery of the score and multi-octave range makes it difficult to determine if the part was written for a baritone or a tenor, but his voice is pleasing and resonant in both his lower and upper register. His adept vocal performance and his ability to act through song added to his bewitching presence. He created a character who inspired lustful eroticism, making it completely conceivable that both Mina and Lucy were unavoidably drawn to him.

Matching Gutmann in vocal abilities and acting talent were Brittany Kohl (Mina) and Vanessa Simpson (Lucy.) Both sopranos have stellar voices and handled their parts of the score with skillful aplomb. Kohl and Simpson’s portrayals created convincing characters who were seduced by the masculine magnetism of Dracula. It was the connection between the two females and Gutmann that created palpable sexual tension and a willful consciousness to succumb to the prince of darkness.

Ann Heir Brown, Chelsie Johnson, and Sarah Lueken are listed in the program as the Weird Sisters. Their relationship to Dracula is not disclosed in the script but they could be described as Dracula’s sirens, servants, or brides, as part of the undead world. They creepily crawl around the stage like possessed demons spookily singing the haunting background melodies. All three create a bizarre individual and collective presence and sound. They also fill in as the female chorus members when not in role as the Weird Sisters, joining the remaining cast members Kent Coffel (Van Helsing), Rafael DaCosta (Renfield), J.D. Pounds (Dr. Jack Seward), Ian McCreary (Jonathan Harker), Alex Vito Fuegner (Arthur Holmwood), and Christoper Strawhun (Quincey Morris.)

Director Scott Miller sandwiched Rob Lippert’s gothic inspired set design between the audience. Lippert’s set consisted of a wall of gothic arched windows, a large rolling door, and a flat-topped crypt that was used as an elevated performance space. Miller’s blocking and Tony L. Marr’s creepy choreography filled the small performance space with ghoulish movements. Matt Stuckel’s eerie lighting design and Ryan Day’s spectral sound design added to the production’s haunting atmosphere. Zachary Thompson’s richly appointed costumes were well suited to both the performers and the period.

New Line Theatre’s musical production of “Dracula” would especially appeal to fans of the horror genre. It is more mysterious than scary with the central plot focusing on Dracula’s obsession with Mina and her inability to resist the handsome monster. It's the performances, charisma, and chemistry of Gutmann, Kohl, and Simpson that make this production sing even with Wildhorn’s uneven score and Black and Hampton’s troubled book.

“Dracula” continues to play at The Marcelle through June 22, 2024. Performances are Thursdays – Saturdays at 8:00pm. More information can be found at New Line's web site.