A hilarious and deeply uncomfortable take on a classic that brilliantly blends comedy, horror, and feminist critique.summary
Rating
Excellent
In this wickedly entertaining revival of Heinrich August Marschner‘s Der Vampyr, Gothic Opera serves up a deliciously dark cocktail of humour, horror, and social commentary. Director Julia Mintzer and conductor Kelly Lovelady have crafted a production that is both a loving homage to classic vampire tales and a sharp critique of patriarchal power structures.
The plot follows the vampire Ruthenford, impeccably portrayed by Giuseppe Pellingra, as he is tasked by his ‘line manager’ with converting three souls to vampirism. What unfolds is a convoluted and often hilarious plan involving overenthusiastic victims, hasty marriages, and oathsworn minions. Pellingra’s performance is a masterclass in comedic timing, with cape-swishing and evil laughs that teeter gloriously on the edge of parody.
The production’s greatest strength lies in its ability to balance campy humour with genuine discomfort. As the audience chuckles at the over-the-top vampire antics, they’re simultaneously confronted with uncomfortably realistic portrayals of patriarchy’s traumatising effects. This juxtaposition creates a new and innovative perspective on vampirism, exploring, analysing and ultimately flipping the usual predator-prey dynamic into a dark tale of liberation.
Musically, Der Vampyr is a treat. The orchestra, under Lovelady’s direction, deftly navigates Marschner’s score and the new arrangements. Standout vocal performances come from Milena Knauß as Malwina and Gráinne Gillis as the Vampire Master, both showcasing impressive range and control. The alternation between witty English dialogue and subtitled original lyrics ensures accessibility without sacrificing the opera’s musical integrity.
While the pacing lags slightly in the middle of the second act, the finale more than makes up for it. The production unleashes a feminist take on a bloody vampire rampage, complete with flying fake innards. It’s a tour de force of vocal and orchestral power that had the audience on the edge of their seats.
The production design deserves special mention, cleverly evoking the aesthetics of Dracula and Nosferatu while adding its own modern twist. The result is a visual feast that complements the performances perfectly.
In reimagining Der Vampyr, Gothic Opera has created a show that is simultaneously a celebration of gothic horror tropes and a nuanced exploration of consent, power dynamics, and liberation. It’s a difficult balance to strike, but this production manages it with aplomb. For anyone looking for an evening of thought-provoking entertainment that doesn’t skimp on the laughs (or the fake blood), this show is not to be missed.
Composed by: Heinrich August Marschner
New arrangement by: Kelly Lovelady
Adapted and with new English dialogue: Julia Mintzer and Charles Ogilvie
Directed by: Julia Mintzer
Conducted by: Kelly Lovelady
Der Vampyr has finished its run at Arcola Theatre as part of the Grimeborn Opera Festival which runs until 28th September. Further information and booking for Grimeborn 2024 are available here.
