The latest production of *Dracula* by BIG Live has ignited a passionate response among audiences, showcasing a blend of Gothic themes and theatrical flair. The ballet, which runs at the State Theatre in Sydney until September 12, 2023, and will continue at the Newcastle Civic Theatre from September 17 to 21, 2023, marks a bold venture for the emerging dance company.
BIG Live, a newcomer in the dance scene, has adopted a privately funded model that diverges from traditional ballet companies. This shift has allowed the organization to reach a diverse audience, capturing the interest of those who might typically shy away from classical ballet. The entrepreneurial spirit of BIG Live is commendable, and its performances have been largely sold out, indicating a successful connection with viewers.
The choreography, crafted by Joel Burke, who also serves as co-founder and artistic director while performing as Jonathan, condenses Bram Stoker‘s classic novel into a two-act ballet. The storytelling, while straightforward and accessible, lacks the depth and artistic sophistication expected from a ballet adaptation of this nature.
Choreography and Musical Choices
The first act presents a tightly woven narrative. While Act 2 suffers from tonal inconsistencies, the presence of four ghostly women remains a standout feature throughout the performance. Set designer Eric Luchen has effectively captured the Gothic essence, while the score by Toby Alexander often feels like a quiz on classical music, leading audiences to recognize familiar pieces.
While this familiarity is intended to create a comfortable atmosphere, it can detract from the emotional weight of the story. The use of well-known compositions, such as Bach‘s *Toccata and Fugue in D minor*, evokes laughter rather than chills when introduced as Dracula’s castle unfolds. Similarly, the decision to accompany Dracula’s violent escapades with Tchaikovsky‘s *1812 Overture* elicited confusion from some audience members, blurring the line between horror and comedy.
The cast, primarily comprised of young dancers, brings an invigorating energy to the stage, which somewhat compensates for their inexperience. Yet, for seasoned ballet enthusiasts, the production’s most compelling aspect may be Ervin Zagidullin, a former artist of the Mariinsky Ballet. Trained in the Vaganova method, his performance showcases the strong technique and dynamic leaps characteristic of the Russian ballet tradition.
Audience Reactions and Future Prospects
As critics and attendees reflect on the performance, opinions remain divided. Some appreciate the fresh approach to ballet, while others lament the departure from classical expectations. The balance between Gothic glamour and comedic elements in *Dracula* invites ongoing discussion about the evolution of ballet as a popular entertainment form.
In summary, BIG Live’s *Dracula* offers an intriguing experience that challenges traditional ballet conventions. With its unique business model and a focus on audience engagement, the production has carved out a niche that resonates with many, even as it raises questions about the future direction of ballet in contemporary culture.
