completely on point. The wonderful set, also designed by Dave, was the perfect backdrop for all this mayhem, as well as actually being part of the mayhem, with fake doors, and holes appearing in the brick walls. He was kind enough to give me a backstage tour so I could see for myself, and fully appreciate, the intricacies of the design and construction. The props weren’t just stage dressing, they were also put to work as comedy devices; the breaking chaise being one memorable ‘laugh out loud’ moment. It was so convincingly done that, initially, I thought it was a genuine accident. The ingenious design of the multi-purpose coffin also deserves mention as one of the devices taken full advantage of by director and actors alike. The success of this play relied heavily on the superb quality of its scenery and props, and I was delighted to see due credit given to some of the crew who humbly took a bow at the final curtain. Supported by an excellent production team, the actors could relish every moment of their crazy adventures on stage. Professor van Helsing, a stoically endearing performance by Ian Wilkinson, tried to bring some order to the proceedings. Bruce Taylor, a wonderfully suave and cheekily menacing Dracula was equally believable as bad-tempered Mrs Westenra and ‘Dad and Son on Cliff’. John Cowie, who winningly portrayed a demure and sweet Mina Murray, transformed at the drop of a wig to dock worker, and crotchety Cart Drivers Wife. Chris Billington as eminently sensible lawyer, Johnathan Harker, became wonderfully winsome as the doomed innocent Lucy Westenra and equally convincing as spider-eating maniac Renfield. I was in awe as they all romped through the storyline, switching on and off from their various personas. Each character adopted instantly (and very convincingly) by
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