Dracula: The Musical

The Dracula story is already a satire because of its familiarity, and in Dracula, The Musical, with book and lyrics by Don Black and Christopher Hampton and music by Frank Wildhorn, they do start off with familiar references and jokes like, "She is of good blood," which get laughs. But that's about it. The rest of the show is stiff and clunky, with derivative songs that mostly hold up the action. However, the design team gives us amazing visuals that never quit. We walk out, classically, "whistling the set." Heidi Ettinger's innovative, active, gliding, transforming set, combined with Howell Binkley's fearless lighting, gives us effects of a real horror show, with flying furies and a floating Dracula (staged by Rob Besserer - with Flying by Foy) and gothic castles.

With fine costuming by Catherine Zuber, some of the best sound design on Broadway (by Acme Sound Partners), and projections by Michael Clark, I only wish the rest of the show were as engaging as the stunning visuals. All the performers are strong Broadway singers; the leads, Tom Hewitt, Melissa Errico and Kelli O'Hara, are all true singing stars and fine actors, and a pleasure to hear and see. But the songs, staged statically, put me into plateaus of boredom while I wait for Heidi's next visual kick.

Very unevenly directed by Des McAnuff, this Dracula is something not to be missed by design and lighting students. For the rest of us, well...