Ballet is supposed to be genteel, regal and aswirl with princes, princesses and fairies, right?
Think again.
Colorado Ballet’s deliciously macabre production of “Dracula,” which returned Thursday evening for its fourth run, breaks all the rules. If there were any tutus, they’d surely be blood-stained.
Certainly, many traditional ballet steps are highlighted, but director and choreographer Michael Pink combines them with a world of other movements as well – all epitomized by Count Dracula, who leers and lurches, preens and pounces, slides and slithers.
If dance remains at the core of this emphatically contemporary work, theater is virtually as important. Breaking from the mannered narratives of classical ballet, Pink emphasizes a flowing story line with nonstop action that reaches almost breathless intensity at times.
Enhancing the production’s keen theatricality are Lez Brotherston’s beautifully atmospheric sets and costumes and such unconventional devices as projections and a soundtrack with screams, bat screeches and other suitable effects.
To start things off on just the right note, the theater is suddenly and unexpectedly thrown into total darkness, and all that is heard is a loud, steady beat – the sound of a heart pumping blood.
In short, this production, with its unsettling mix of the sensual and sinister, gets the mood just right. It’s scary enough and fun at the same time.
Two casts divide the production’s five performances. John Henry Reid took his turn in the title role Thursday, convincingly conveying Dracula’s menacing allure and ably handling the vampire’s contorted, sometimes acrobatic moves.
Maria Mosina turned in a typically rock-solid performance as Mina Harker, Dracula’s final victim, and Chandra Kuykendall offered an effective portrayal of Lucy Westenra.
Among the standouts in smaller roles were Koichi Kubo, who brought a poignancy to the maniacal Renfield, and Chauncey Parsons as Jonathan Harker.
Tomasz Kumor also deserves mention for his entertaining turn as the bellboy in Act 2.
“Dracula” will be repeated in the Ellie Caulkins Opera House at 7:30 tonight, 2 and 7:30 p.m. Saturday, and 2 p.m. Sunday.
Fine arts critic Kyle MacMillan can be reached at 303-954-1675 or kmacmillan@denverpost.com.
