“Bold, bloody and dripping with young talent“
The National Youth Theatre’s latest rep company production of Dracula is Gothic horror with a twist. Written by Tatty Hennessy and directed by Atri Banerjee, this latest adaptation of Dracula, this adaptation of Dracula feels sharp, self-aware and completely unafraid to splash its ideas — and its fake blood — across the stage.
The first half is a traditional retelling of Bram Stoker’s classic Gothic. The titular Count looms silently, ever-present in his coffin at centre stage, a constant shadow over the action. Yet this is not truly his story. Instead, the spotlight shifts to Lucy — and what a Lucy she is. Sasha Jagsi commands the stage with a performance that is magnetic and quietly menacing, balancing vulnerability with flashes of ferocity. Throughout the first half the story unfolds slowly, building in intensity as Lucy gradually descends into darkness.
The second half’s jump to the modern era could feel jarring, but instead it injects a surge of fresh energy into the room. The tonal shift works because it’s rooted in relationships. In the Victorian storyline, Lucy and her best friend Mina, portrayed with strength and compassion by Rhia Burston, give us a friendship that feels lived-in and fiercely loyal. In the contemporary thread, Lorna and her sister Millie (Maya Coates) mirror that same intensity of devotion and defiance. As the newly turned vampire, Lorna, played by Louise Coggrave, steals the show: confused, exhilarated, fizzing with energy and, despite the blood lust, utterly human. Both pairings crackle with chemistry — teasing, bickering, protecting. There is just the right amount of derision to sell their (literal) undying love for one another. It’s messy, funny, recognisable — and devastating when it needs to be.
What really elevates this production is its control of tone. It’s genuinely funny, without undercutting the horror. One minute the audience is laughing; the next, the next we are flinching. The lighting design, by Alex Musgrave, deserves serious credit here — stark torches slice through the darkness, and washes of red flood the stage in moments where comedy curdles into fear. The transitions are slick, matching the show’s confident pace. Pouya Ehsaei’s sound design also deserves praise, weaving eerie underscoring through bursts of modern pop without missing a beat. And then there is the blood splattered with gleeful excess to bring the horror viscerally to life. Some may find it distressing, but for everyone else, it is part of the thrill.
This year’s rep company proves exactly why the National Youth Theatre remains a powerhouse for emerging talent. Every performance feels pitch-perfect, committed and fearless.
Dracula runs until 13th March at the National Youth Theatre in London. Tickets are available here.
Trigger warning: The show contains a lot of fake blood and depictions of blood transfusions that some viewers may find distressing.