Composer Frank Wildhorn cut his teeth on “Jekyll & Hyde,” so maybe it was destiny he later sunk his teeth into another monster musical: “Dracula.” (Obligatory teeth references out of the way.)
Central Florida Vocal Arts is presenting Wildhorn’s “Dracula” under its Opera del Sol banner, and the fanged one has made his home in the unusual location of a CityArts gallery. This is a show that made its name two decades ago on its special effects and flying wizardry that let the undead count and his minions take to the skies.
That’s not going to happen here, so what are we left with?
For starters, a talented cast who, under the direction of Theresa Smith-Levin, are committed to these characters. Come early, and during the preshow, sanitarium inmate Renfield might introduce you to his rats.
The band, with keys, violin, percussion and guitar, gets great sound — balanced well for the small space — and music director Bert Rodriguez has performers who sing the heck out of Wildhorn’s songs.
Taken as a concert, there’s much to enjoy. But oddly, the problem with this show as a piece of theater is that it’s, in fact, too faithful to its source material, Bram Stoker’s 1897 novel. Adapters Don Black and Christopher Hampton fail to build a building emotional continuity, so the story seems to jump from plot point to plot point.
And, though Wildhorn can vary his style — he also composed “The Civil War” and “Bonnie & Clyde,” among others — many of these songs are so derivative of “Jekyll & Hyde” one wonders if they were cast off from that earlier musical because they didn’t make the cut. Close your eyes, and you can picture Linda Eder singing them.
Of course, big “Jekyll & Hyde” fans may see this as a selling point.
At show’s end, the adapters veer from the story in a last-ditch effort to make their monster lead a romantic hero, but they haven’t provided enough emotional justification for their climax.
Yet despite the show’s inherent flaws, Smith-Levin and her team find much to bite into. (Sorry, there I go again.)
Two supporting actors, in particular bring a lot of life to this tale of the undead.
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Adourin Jamelle Owens is a haunted Renfield, his voice going from a whisper to a scream as he hears his master in his mind. His “Master’s Voice” number is a musical highlight.
And Chistopher Fahmie hits the stage like a bolt of energy, eyes blazing with the fire of the fanatic, as vampire hunter Van Helsing.
In the title role, David Bracamonte gives a mannered performance, faithful to the modern idea of the bloodsucker as a romantic seducer — not the monstrous-like creature described by Stoker in his novel.
He starts with a Transylvanian accent and ably delivers lines like “Personally I am not a wine drinker” to get a laugh. By the time the count lands in London, Bracamonte has an English accent, but his vocal prowess remains intact: He has a theatrical knack of growling while he sings Drac’s monster songs but projecting an appealing clarity on the love duets.
And there are duets and anthems aplenty — Wildhorn displays his love of making every song sound like an act-ender.
As the women in Drac’s orbit, Angela Tims unleashes plenty of vocal fire and displays an affecting vulnerability as Mina, while Kayla Kelsay Morales shines during the show’s one comic scene in which her poor, doomed Lucy has to choose a husband.
Kit Cleto, as Mina’s husband, also offers fine vocal support with his pleasing tenor.
One final note for the nervous: Despite the stylish, bloody hand and footprints leading to the venue, this is not a gory show, and the atmosphere is more one of creepiness than horror. Don’t worry, you won’t find your (forgive me, one more) teeth chattering in fear.
‘Dracula’
- Length: 2:35, including intermission
- Where: CityArts, 39 S. Magnolia Ave. in Orlando
- When: Through Oct. 29
- Cost: $35 and up
- Info: operadelsol.org
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