Review: Dracula (Noël Coward Theatre)

Review by Daz Gale

⭐️⭐️⭐️

Much has changed since Cynthia Erivo last performed in a West End show eight long years ago - crossing the pond for a Tony Award-winning role on Broadway, and of course immortalising the role of Elphaba on screen in the two Wicked films, becoming a household name all over the world and even picking up an MBE in the process So it is with much excitement that 2026 makes her triumphant homecoming after all of these achievements, returning to the West End for Dracula. Upon its announcement, the show immediately became one of the most hotly anticipated of 2026, both for the promise of Erivo’s performance and given the rapturous response to director Kip Williams’ similarly staged adaptation of The Picture of Dorian Gray. Understandably, this meant the stakes were high, but would this new version of Bram Stoker’s classic be suitably fang-tastic, or would it simply suck?

Since it was first published in 1897, Bram Stoker’s Dracula has been subject to many adaptations on stage and screen, from Christopher Lee’s iconic performance in the movies, to a couple of more comedic takes on the story, seen in theatres in London last year. Kip Williams’ version attempts to do something different, however, and that is to have all 23 roles played by one person. This is as you have never seen him before. It was a tactic that worked well with The Picture of Dorian Gray with Sarah Snook brilliantly portraying all 26 characters in a performance that wowed audiences both in the West End and on Broadway earning her both an Olivier and a Tony award, If it ain’t broke, don’t fix it, and after a run in Sydney in 2024, it is now the West End’s turn to see if Williams can repeat that success with Dracula.

The first thing to note is how wildly creative and ambitious this production is, with Williams' signature stamp all over it. The conception of this Dracula is impressive enough, and I personally love theatre that attempts to bridge the mediums of theatre and film, bringing live and pre-recorded filming into the mix, so I very much admire Williams’ artistry and creativity. So it is quite disappointing that Dracula didn’t quite hit as effectively as Dorian Gray did. Perhaps I was just spoiled by that previous show, but it did feel like I had seen this all before, and there were no new tricks up his sleeve to wow audiences.

The first moment Sarah Snook interacted with her pre-recorded self on video in Dorian Gray took my breath away, so knowing that was an inevitability in Dracula lessened that impact. That doesn’t lessen the accomplishments of this production; however, it just means that with fewer surprises, there wasn’t really a reason to get excited once the show began. I also noticed more in this production how little Erivo was playing to the audience, performing to the camera, as is required for the live-filming quality, but this created more of a disconnect than I had experienced in Dorian Gray and left it feeling slightly cold.

As a piece, this Dracula isn’t quite as polished or pacey as Williams’ previous show. Running at over two hours without an interval, there is an inconsistency in the adaptation, which means some scenes lag, risking the audience getting restless. Other than that, Williams is a master in directing, with this production showcasing his strengths and talents in a vivid and distinct take on a story that has been equally thrilling and terrifying audiences for nearly 130 years. The attention to detail, meticulous planning and careful execution that goes into the live filming and pre-recorded video side of this show cannot be understated - it is no easy task, and some of the transitions and overlays with Erivo’s multiple roles really are spectacularly done. For that, the stage managers and camera operators deserve all the praise for keeping the show ticking along.

One aspect of Dracula that cannot be faulted is how visually stunning it always is, with Craig Wilkinson’s video design frequently astounding to witness - undoubtedly the strongest aspect of the play. It ties in nicely with Marg Horwell's scenic design, transforming a relatively bare stage through some inventive and unexpected ways - every time the huge screen was raised, it would reveal a new set, with some fabulous gothic and varied looks to complement the always breathtaking video. In a show that is fundamentally dark, the sparing bursts of colour are always used to great effect, most notably in the reveal of the heart set, before transporting back to cold, darkness with a snowy climax.

Of course, the biggest draw for Dracula is the chance to see Cynthia Erivo on stage. You don’t need me to tell you what an incredible performer Erivo is - her track record speaks for itself, even making I Can’t Sing watchable. There is a real magnetic quality to her, making it impossible to take your eyes off of her in the process - a difficult choice of watching Erivo on stage, and the version plastered on the big screen. The duality of this performance gives a fitting metaphor to Erivo’s own trajectory, with her simultaneous presence on stage and screen feeling knowingly meta for an artist who commands both. It is inspired casting, and at her best, Erivo showcases why she has reached such a stratospheric level in her stardom - that isn’t to say, however, that her performance is consistent throughout.

This is clearly a very demanding role, a demanding 23 roles, to be exact. The difficulty in nailing every performance, switching from one character to another with a variety of accents and mannerisms, cannot be understated. Unfortunately, on this press night performance, Erivo didn’t come across as slick as you would expect, stumbling on a few too many lines throughout. This may seem inevitable given Erivo essentially has a 20,000-word monologue throughout two hours of never leaving the stage, but every fumble lost the much-needed escapism of the piece. Timing is crucial in a production such as Dracula, with Erivo interacting with her pre-recorded self for large chunks of the play. The timing was often lost at this performance, with characters responding before it had finished. On the whole, the performance felt a bit too under-rehearsed and as if it could have benefited from a few more preview performances before officially opening.

Cynthia Erivo did get stronger and more confident as the performance continued; however, the second hour felt far slicker than the first. The strength in her performance was also felt throughout her pre-recorded video, again showcasing why she is becoming such a regular fixture on screen. While this particular performance may not have been the best demonstration of her strengths, they were still clear to see, and even when Erivo is not at her best, the level she delivers can still impress.

All in all, I’d say this production of Dracula is probably better than the particular performance I witnessed. Given a bit more bedding in, it will reach the quality it deserves, as this is very clearly a show worthy of more than the three stars I have awarded in this review, though those stars reflect the performance I attended. There is much to be impressed by, notably Williams’ creativity and the thrilling blend of live theatre and film, as well as the astonishing character-defying performance from Cynthia Erivo. In that respect, Dracula is a show like no other in the West End at the moment, and if you haven’t seen Williams’ adaptation of The Picture of Dorian Gray, you are more likely to be blown away by the surprises and intricacies of this production. Though this adaptation of Dracula certainly doesn’t suck, it is in desperate need of a bit more bite.

Dracula plays at the Noël Coward Theatre until 30th May. Tickets from https://draculawestend.com

Photos by Daniel Boud