THEATRE REVIEW: Carmilla - The Boat Shed, Ellesmere Port - online version.

Before there was Dracula, there was “Carmilla”. Chalice Productions’ elegant adaptation of Sheridan Le Fanu’s 1872 vampire novel is atmospheric, low-key and with a genuinely supernatural feel to it, performed by a mixed company of professional and community actors. Last night’s performance was at the Boat Shed, Ellesmere Port, as part of the Greater Manchester Fringe Festival.

Terasa Newton’s shadow-silhouette set was dominated by a Gothic-arched window, usually with blue moonlight shining through it via Alex Vickers’ ethereal lighting design. The costumes, though 1870s in essence, were stripped back to their basic outlines and most simple shapes, giving greater focus to the actors’ performances - especially to the innocence and assumed virginity of the young female characters.

Charlotte Graves was lovely as Laura, the eighteen-year-old daughter of the house. She brought an extra range to her ingénue role, developing an earthier passion as her feelings for the mysterious Carmilla increased, and she began to develop in possessiveness and jealousy. Cai Gruffodd, as her brother Arthur, was an amiable and genially bemused counterpart; and Jane Hamlet was warm and caring as Aunt Grace. Kylie Cadwallader bustled about efficiently as the governess Madame Perrodon.

As the vampire girl Carmilla, Kirsty Howe held the range between sultry debutante and femicidal monster: – she genuinely was rather frightening once she had the blood running down her chin. The scenes of intimacy between her and Laura were staged with the subtlest of Sapphic undertones, and the balletic grace extended to Carmilla writhing around Laura’s nightmares.

Mikyla Jane Durkan was darkly enigmatic as Carmilla’s supposed mother, Madame D’Comptese. There was a very nice status change when she switched from her domineering disguise to her real identity as Carmilla’s wretched familiar.

Franklyn Jacks was intelligent and detailed as the scientist Doctor Hessellius, but his performance did go over the top into a Hammer horror caricature at times.

Bethany Wedgwood was sympathetic as Carmilla’s other target, Bertha. David Harris was protective as her father General Spielsdorf, and Robbie James-Williamson was steady as the Doctor.

Laura J. Harris’s script highlighted some interesting aspects, such as the conflict between believing in science and believing in magic. When young women in the village started dying of a mysterious ailment, and the possibility of a visiting vampire was raised, quite pointedly the characters kept referring to the monster as “He” (which this reviewer quite enjoyed.) Harris’ direction made good use of the group scenes and ensemble acting, and the music she composed for the production sent silvery shudders down the spine.

All in all, a very haunting and unearthly evening.

Reviewer - Thalia Terpsichore
on - 3.9.21