FOUR STARS
Two words define the last performances of this musical: memorable farewell. Who would have imagined, three decades ago, that this creation of Pepe Cibrián Campoy and Ángel MahlerWould it become such a successful proposal? The thing is “Dracula, the musical”, became an absolute public phenomenon that goes beyond any
aesthetic consideration.
The last six performances took place in the legendary Luna Park, same space where the legendary producer Tito Lectoure sheltered in 1991 the duo who recreated the story of the vampire imagined by the Irishman Bram Stoker (1847-
1912).
With sold outthere were spectators who witnessed it for the first time and others who could be classified as parishioners of a pagan rite, since, in some cases, attracted by a plot that fuses terror with the seduction of impossible love, they have seen this piece more than once and they know cover to cover the lyrics of the songs performed by the orchestra, very well conducted by Mahler.
It all begins when Jonathan Harker (Mariano Taccagni)engaged to Mina Murray (Cecilia Milone), is entrusted to travel to Transylvania to deliver Count Dracula (Juan Rodó)the writings of a
property acquired in the English city of Withby. Ignoring the warnings of the locals she accepts the nobleman’s hospitality and ends up falling under his hypnotic power.
Meanwhile, Mina, in England, accompanied by the faithful governess Nani (Adriana Rolla)welcomes Lucy (Tank Light) who comes to marry his cousin. Slowly the girl’s mental state and health crumble as she is plagued by mysterious nocturnal nightmares.
Dracula, already installed in the metropolis, appears at the lavish wedding ball where, just before attacking the young woman, he believes he recognizes in Mina’s face the woman he loved five hundred years ago. What follows, including
appearance of the famous Dr. Van Helsing (Gaston Avendaño), is well known.
The large cast, very well managed by Cibrián Campoy, is flawless, both vocally and interpretively, given the tendency to highlight almost grandiose gestures and reactions that this type of
shows. The prodigious presence and vocal power of Rodó stand out, at this point a figure inseparable from this leading role. Furthermore, the warmth and sensitive commitment of Milone, the distinction and maturity of the solid Taccagni, the
expressive nuances of Rolla, the scenic authority of Avendaño and the ease of Despósito.
Will it be the final bite?
