Dracula - The musical adapted from Bram Stoker's classic gothic novel

“Interview with the Lyricist of “Dracula”, the new musical”

An article originally published by Singers UK (May, 2006).

“Dracula” is the musical by Christopher J. Orton and Gareth Evans, with orchestrations by Ian Lynn. The concept album of this new show is produced by Sang de Vie Productions Ltd and is available to buy from Dress Circle, London.

When I enter Ian Lynn's recording studio, located in the heart of the Surrey countryside, I am immediately aware of the buzz of excitement as the creative team of the new Dracula musical listened to a playback of the latest track recorded by the leading West End performer, Michael McCarthy.

After introducing myself, I am shown into a room off the studio and am soon joined by Gareth Evans who is the lyricist for this new musical, “Dracula”. I decide to first ask how he and Christopher J. Orton came to work on this musical.

“I had known of Chris for a few years. He was a student of a good friend of mine. I was aware of his earlier musical theatre compositions but we had never worked together before this project", Gareth explains, adding, “In fact, I originally approached Chris with the intention of us working together on another libretto I had written. After becoming aware of the Dracula libretto, Chris suggested he would like to write the score for it. He took it away and had produced the great opening number within days. Our collaboration on the work began in 2004 and we approached Ian Lynn to orchestrate the work the following year. Sang de Vie Productions Ltd. agreed to be the producers of the work. Thanks to them, we had the opportunity of recording the concept album of our work”.

Knowing Ian Lynn to be a well known and respected arranger and MD in the UK, I enquire as to how the idea of the concept recording came about.

“It was always the intention to record a concept album” Gareth explains, “To have something tangible to show for our work and something of which we could be proud as a collaborative musical theatre piece”. And what about working with Ian Lynn, I ask. “We contacted Ian through a friend of one of my associates” Gareth explains, “It has been a marvellous experience for us, working with such a highly professional and talented man. Ian’s orchestrations, I know Chris would agree, have given the whole album a very professional and commercial musical edge. And with Michael McCarthy’s impressive vocal performance, as Dracula, it has helped to take this album beyond anything we imagined”.

The inevitable question springs to mind and I ask Gareth how he came to write the libretto for this new musical.

“I had the initial idea way back in the 1970’s. Probably about the same time I first read the novel. Over 30 years ago. Of course, in those days, the idea of writing a show based on Dracula was derided because people thought immediately of the old films and did not really know the marvellous original story. For instance, there is no romance between the characters of Dracula and Mina in the novel”.

As one of those who thought this to be the case, because of a film I had seen, I am surprised and ask him to clarify this point.

“One of the greatest challenges was to remain loyal to the novel and not to weave a romantic tale within the plot between Dracula and any of the female characters” he explains, “This has been done many times before and does not exist in the original story. In the novel, the romance is kept firmly on the side of the honourable characters in the tale. Dracula's character is very much about possession and conquest. His corrupting zealous passion is the antithesis of romantic love”.

I make the observation that Dracula seems to be devoid of 'love'. Gareth agrees.

“But he believes his type of corrupting passion is love. I have also added an element of pathos to his character in this work” he adds, “The Dracula of the novel has no redeeming character qualities whatsoever. After I read the novel for the first time all those years ago, I recall being fascinated to discover that Stoker had partially based the character of Dracula on a real historic figure, Vlad Tepes. The son of Dracul. Son of the dragon or devil”, he enthuses, “There is also a single reference to this figure in Stoker's notes for the novel. Years later, when I began working on the libretto, I felt it was essential that it should include a direct link between the historic and fictional ‘Dracula’, as Stoker had implied in his book. Fortunately, that presented the most important way for the plot to develop as excitingly as it has in this work. It presented the opportunity to reveal a reason and means for the fictional Dracula in the musical to become a vampire”.

Now I am really impressed. I ask him to elaborate upon this intriguing revelation.

“Yes. This is the show that reveals, at last, how Dracula becomes a vampire. The premise is based upon historical facts” he adds, with a humorous wink, “But, seriously. I thought of the terrible atrocities that Vlad Tepes committed against people by having them impaled upon huge stakes. I decided that the consequences of his crimes might be a good starting point for the show. The opening number explains it all”.

I feel Gareth’s obvious enthusiasm for this quite original work. In fact, I am beginning to appreciate just how original this work is, which begs the question as to what in his opinion makes this musical any different from other attempts to recreate Stoker’s work as a musical.

“I saw no point in simply adapting the main plot of the novel without adding something new to the musical plot”, he pauses thoughtfully, “To make it different by adding something new to the vampire myth but still to respect Stoker’s intentions regarding his plot and the main protagonists in the novel. It was very important to me that as much as possible of Bram Stoker's story was in this musical. I have always had a deep respect for this man's work. As far as the libretto is concerned, I had to adapt and reinterpret Stoker’s story to create a workable plot which would be suitable for a musical theatre production. That’s all I set out to do and it seems to have worked. But that is only half the story. I’m only the guy who dreamt up the musical plot and lyric structures. Chris Orton and Ian Lynn have brought this whole project to life with a wonderful score with superb orchestrations. Ian has also written the overture and elaborated upon Chris’ music for the finale by using some of the themes that appear throughout the work”.

Finally, I arrive at the inevitable question regarding their hopes for their work’s success. Maybe, even a West End show? Gareth is refreshingly modest in his honest reply.

“Ultimately, we hope that people enjoy the musical. It’s a good story and we all believe in the show we’ve all worked so hard in producing, so far, as a concept album. We all hope that the show will be successfully produced as a professionally staged musical but none of us have any unrealistic expectations. Personally, my only intention was to collaborate on a professional work that will be judged fairly on its own merits as an original musical theatre piece. That is all. No matter what happens, we will have the professionally produced album to show for all our hard work. To that degree, it’s already a success”.

Given the current air of scepticism regarding "vampire musicals", because of the recent unsuccessful professional productions, I can understand the authors' cautiousness of being overly optimistic about their show. * As one who has listened to several of the tracks from the forthcoming concept album, I can wholeheartedly recommend it to all musical theatre fans and to those who enjoy Bram Stoker’s novel. In my experienced opinion, this is most definitely the musical that proves this story can be successfully produced as a musical.

I thank Gareth as we finish the interview and he adds, intriguingly, “Obviously, we are already planning to produce a professional presentation of the work”, he announces, “I can’t say much more at the moment. The future of the work lies with Sang de Vie Productions who are also the producers of the album. If our plans should transpire, I feel Bram Stoker would definitely approve of the location for the premier…”.

The Dracula Musical concept album is produced by Sang de Vie Productions Ltd and is available to buy from Dress Circle, London.

Reprinted with permission (Singers UK Article © Copyright. 2006)

Current production updates can be found on the NEWS ITEMS page

Buy the album at Dress Circle (London): DRACULA - THE MUSICAL

Buy the album at Sound of Music store (Germany): DRACULA - THE MUSICAL

The Dracula Musical Album is now available in the USA, via the American / internet based supplier CD BABY

See the Dracula Musical Website Index for related links and credits

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Copyright

Book and Lyrics by Gareth Evans. Music by Christopher J. Orton. Orchestration by Ian Lynn.

The concept album of the musical, “Dracula”, is produced by Sang de Vie Productions Ltd.

All forms of reproduction of any part of this recorded work are strictly prohibited by law.