If the stories are to be believed, Swansea Grand Theatre is haunted by a “white lady” with a direct link to the man who created Dracula. Bram Stoker himself visited this Victorian theatre in his role as manager to Sir Henry Irving, and it is one of Irving’s relations who is now said to wander these hallowed aisles long after shuffling off this mortal coil.
In 2025, Dracula haunts the theatre once more—this time in the form of a new touring production from Blackeyed Theatre. Adapted and directed by Nick Lane, it breathes fresh life into the well-worn tale, embracing the eerie, Gothic spirit of Hammer Horror classics to conjure a world of shadowy menace and creeping dread.
The production’s greatest strength lies in its ability to create an atmospheric, folkloric world with understated yet intricate staging. A labyrinthine set, tangled with ivy and overgrown grass, transforms with each scene, heightened by a full moon, flashing lights and drifting smoke. With compositions by Tristan Parkes, the unexpected use of singing adds a haunting, almost dark fairytale-like quality to a soundscape that swirls with whispers, distant howls and unsettling harmonies.
The six-strong ensemble cast shift between roles, and whether intentional or a fortunate coincidence, this emphasis on duality—a key component of Gothic storytelling—proves effective. Maya-Nika Bewley and Marie Osman embody this most strikingly, seamlessly transforming from the contorted, otherworldly Brides into the sweetly innocent Mina and Lucy. Meanwhile, the production’s choice to have three actors—David Chafer, Richard Keightley and Harry Rundle—share the role of the Count by swapping the cape is an unconventional yet entirely effective choice, while Pele Kelland-Beau rounds out the cast as Harker and Quincey.
As with all adaptations, creative liberties are taken, with varying success. An inventive interpretation of Renfield adds an intriguing twist while staying true to the character’s essence. On the other hand, the Count’s comparison of his crimes to those of the British Empire feels clunky and somewhat on-the-nose, undermining the mystery that makes the vampire myth so compelling—the unsettling idea that the real villain might not be the “other” but something closer to home.
Some theatregoers near me murmured disappointment at the lack of jump scares and blood-drenched spectacle, expecting something closer to a Halloween horror house. I think this says more about modern expectations than any failing of the production; in an era obsessed with high-tech thrills, this was an opportunity to appreciate slow-burning theatrical dread.
Ultimately, this is a solid and atmospheric stage adaptation that respects its source while daring to experiment. Purists like myself will find much to enjoy, and those drawn to the folkloric side of Dracula will have plenty to sink their teeth into. But if you’re after a gory, adrenaline-fueled fright-fest, you might be better off at a theme park in October – or backstage after dark when the “white lady” walks.
Until March 29
This production has to be the worst performance myself and my girlfriend have ever seen, and given the fact we’ve watched into the hundreds of different types of performances in theatre’s in England and Wales and New York whether professional or even amateur this was by far the worst! My girlfriend is a teacher of performing arts and was just disgusted by this entire what we’d call a mess from start to finish, but it was entirely the director at fault, given that the lighting and sound was badly used, and absolutely no mood set in the theatre for the audience to be drawn into.. so much so, that they were leaving in their droves before the break!! It certainly wasn’t the casts fault, and even that was poorly chosen , given the fact the main character “Dracula” had absolutely no stage presence and not at all sinister, it was so bad we were just laughing at it!!