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A Gothic Opera That Bites Back

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Gothic Opera brings to life at the Arcola Theatre an engrossing mix of dark humor, horror, and social commentary in a biting manner within Der Vampyr. Director Julia Mintzer and conductor Kelly Lovelady breathe new life into Heinrich Marschner’s 1828 opera with a spirited, feminist bent that speaks to modern audiences.

This opera, whose starting point is John Polidori’s The Vampyre, draws upon the Gothic tradition, though this adaptation takes things further by featuring matters of modernity: consent, agency, toxic masculinity. Gráinne Gillis as the Vampire Master brings a presence of menace and absurd comic matter in her performance. There is buffoonery to patriarchal power captured well in her portrayal. She becomes a figure to be feared and laughed at.

The feminist reinterpretation of the production is evident in the way in which its female characters gradually reclaim their powers by the only ones surviving till the end. Over the course of the opera, they come to forge a united front, sort of a girl gang of sorts that turns the tables on the Ruthven, the only male vampire played by Giuseppe Pellingrain, a final act both gory and blackly comedic. That scene, where they get body parts off the vampire, is just something disgusting and at the same time hilarious. There is a sort of cringing-laughing throughout the audience.

Visually, the production plays on Gothic elements but with surreal touches when a large teddy bear toy takes on a layer of eerie absurdity to the narrative. The minimalist set and atmospheric lighting created an atmosphere that perfectly complements the themes brought out in the opera.

Musically, the new chamber orchestration, led by Lovelady, gives Marschner’s score renewed energy. It is sung in German, though English surtitles mean it is accessible to all; new English dialogue added bridges the chasm between 19th-century opera and modern sensibilities. One found oneself trying, at times, naturally, to keep up with the surtitles at the expense of the detail in the expression of the characters, and this did detract from the experience to an extent. It was a bit of a challenge to keep up with the text and to engage with the emotional delivery by the performers at the same time.

Des Vampyr is so much more than a revival, but an out-and-out re-imagining that speaks directly to now, and it’s a testimony to the ability of Gothic Opera to come up with something thought-provoking and sassy, yet true enough to the Gothic roots of the original work. Whether an opera aficionado, Gothic literature lover, or just a person looking for a good story, well told with humor and horror, you will not be disappointed with this production. With just four exclusive performances, Der Vampyr takes you on a short, unforgettable journey into a world where the line between good and evil is contested but humorously blurred.