Venue: Old 505 Theatre (Newtown NSW), Jan 8 – 19, 2019
Director: Saro Lusty-Cavallari
Cast: Lucy, Burke, Jeremi Campese, Lulu Howes and Annie Stafford
Images by Zaina Ahmed
The play is structured around title cards of its 1922 silent film forebear, so Nosferatu: A Fractured Symphony is more than a little indebted, not only to that German classic, but also to its legitimate point of origin, Bram Stoker’s Dracula. It is an update of sorts, but also a kind of demystification of the greatest vampire story ever told, for a 2019 audience. Themes of horror, lust and survival, converge with very contemporary concerns that include xenophobia, the me too movement, capitalism, wealth disparity and property ownership, resulting in a new version stripped of old world romance, revealing a more utilitarian dimension of the supernatural tale.
Director Saro Lusty-Cavallari demonstrates artistic innovation alongside an enthusiastic intellect, for this creative, albeit slightly clinical, reinterpretation. The production is at its most mesmerising when allowed to venture into the bizarre. When proffering the political, its approach has a tendency to be obvious. Detailed work on lighting design by Veronique Benett helps to manufacture a sense of visual dynamism, and Justin Gardam’s music brings excellent atmospheric transformations to each surprising scene change.
A motley crew of characters are played by four engaging actors, including Jeremi Campese whose remarkable conviction as the Count, delivers a realistic portrayal of evil that turns the walking dead into a living, breathing rendition of one of the world’s richest men. Lulu Howes’ intense presence gives complexity to the naive Hutton, cleverly resisting our urge to conveniently underestimate her, as we traditionally do all the women in this story. A very enjoyable flamboyance is introduced by Annie Stafford who excels in the show’s more comical and absurd dimensions, and Lucy Burke is relied upon to provide a warmth to this otherwise entirely inhumane milieu.
There is very little that could be done to hold the extremely rich to account; Dracula and Nosferatu are our 1% and they literally get away with murder. In our fantasies, they can be destroyed with a stake through the heart, a reflection of how we are never able to accept their invincibility. Humans are incurably hopeful, for life is in many ways synonymous with hope, but much of our truth, as is evidenced in the pessimism of Nosferatu: A Fractured Symphony is beyond repair. To exist however, requires that we continue searching for answers and solutions, even if we never really get anywhere, it is this motion of endeavouring that makes us virtuous.