Review: Dracula Dances Into Melbourne In A Mesmerising Gothic Spectacle

★★★★★

The Scoop Dracula BIG Live Ballet Melbourne

I have never been more aware of how much a dancer can say without uttering a word.

Dracula is hypnotic from beginning to end, drawing you into its gothic world through movement, music and some of the most striking production design I have seen on stage. As a modern ballet, it is completely captivating. Every scene feels panoramic, as though you could take a picture at any moment and every dancer would be perfectly in place.

Choreographed by Joel Burke, this wordless adaptation of Bram Stoker’s 1897 novel stays true to the themes of love, obsession and the battle between good and evil. When Mina Harker and her husband Jonathan encounter Count Dracula, he and his Ghosts of past victims draw them into their world.

As Jonathan fights to pull Mina back from Dracula’s obsessive grasp, Mina’s innocence slowly gives way to something far more dangerous.

As Count Dracula, Ervin Zagidullin is fierce and authoritative. His leaps are physically astonishing and graceful that it is easy to forget he is the immortal Lord of the Vampires.

The moment he steps onto the stage, he captivates with his demeanour and movement. Throughout the show, Zagidullin beautifully captures sympathy for the Count’s heartbreak despite his cruelties.

Abbey Hansen is impressive as Mina, who slowly unravels the innocent view of the world she began with. Hansen creates an intimacy with her fellow dancers while remaining a transfixing presence on stage.

Her technical skill is stunning and precise throughout the performance, even during the particularly demanding extended pas de deux between Mina and Dracula in Act II.

Joel Burke brings a poignant quality to Jonathan Harker, shining during his solos. His physical and emotional strength comes together during Act II as he toys with guilt, grief and hunger. Holding simultaneous roles as Choreographer and Artistic Director, his passion for the project is clear.

The Ghosts are another standout. Completely captivating, the quartet transforms the atmosphere into a haunted world, weaving in and out of each other with such fluidity that they appear to move together through water and silk.

This precision extends to the ensemble, whose movements are in perfect sync – even down to the slightly-too-perfect smiles. The whole cast is exceptional and has obvious chemistry as each moves together seamlessly.

The production design is just as impressive. The costumes by Sophia Drakos, Fiona Holley, Jennifer Burke and Alisha Biddles enhance rather than compete with the movement. Draped lines on the women’s skirts create a dreamy quality across the stage, while Dracula’s silhouette through puffed sleeves and large capes reinforces his commanding presence.

The Scoop Dracula BIG Live Ballet at its Darkest — The lighting enhances each moment and shifts audiences deeper into this haunted world Image supplied

The set, designed by Martin Thomas, is awe-inspiring in grandeur and detail, making the impossibly quick and quiet scene changes impressive. There’s nothing like a stained glass filled with skulls to signify ‘goth.’

But it is the lighting designed by Steven May that left the biggest impression on me. I cannot think of another show I have seen that has used lighting this effectively. The design never distracts, instead carefully enhancing each moment and shifting audiences deeper into this haunted world.

While I was occasionally distracted by familiar songs ringing throughout the score, the gothic atmosphere remained intact. Burke’s choreography is enchanting and sees him take the daunting task of transforming a gothic novel into a wordless art form in his stride.

There is something rare about ballet in an age of instant gratification and short clips. Without dialogue, we are forced to slow down. To notice the visual cues and piece together the story through physical and musical language. It places an emphasis on every muscle, expression and breath.

Dracula is easily the best live performance of 2026. BIG Live’s production is technically impressive and also succeeds in translating a 129-year-old story into a ballet feast exploring obsession, love, power and loss.

There is a very good reason BIG Live is the world’s fastest-growing ballet company, and Dracula is a mesmerising showcase of why.

Dracula: Ballet at its Darkest is presented by BIG Live runs to 25 October in Melbourne at Her Majesty’s Theatre. It then runs in Sydney, see full dates below.

Tickets available at the links below.

Website: https://bigliveco.com/performances/dracula/

Socials: https://www.instagram.com/bigliveco/