Cynthia Erivo, the Tony and Grammy-winning actress currently starring in a solo adaptation of Bram Stoker’s Dracula in London’s West End, is deliberately shielding herself from online criticism of the production. The show, which opened on Tuesday, February 17, 2026, at the Noël Coward Theatre, has drawn attention for its ambitious scope – Erivo performs all 23 characters across a two-hour theatrical marathon, delivering approximately 20,000 words of dialogue – and initial reports of her reliance on a teleprompter during preview performances.
Speaking after the opening night, Erivo, 39, addressed the online commentary directly, stating, “I’m not paying attention to any of them as no-one knows the experience except me. It’s not for me.” She emphasized her commitment to the role and the production, adding, “I have a job to do and I want to do it as well as I can and I want to do it with all my heart. I don’t let the comments take the energy that I should be spending on the stage.”
The production itself is notable for its minimalist staging and heavy reliance on technology. Erivo utilizes voice and movement to create a Victorian world, and live cameras project close-ups of her face onto a screen, blurring the lines between traditional stage performance and film. Her portrayal of Dracula is delivered with a Nigerian accent and features striking red hair, representing just one of the many transformations she undertakes throughout the performance.
Erivo acknowledged that she was still refining her performance during the preview period, stating, “I was still learning my lines and figuring it out,” but that the role has “become something that’s a part of me, and everyone’s learning process is different.” This admission comes after some audience members publicly expressed disappointment with her performance during those early shows, specifically citing instances where she appeared to be reading from an autocue.
The choice to have a single actor embody the entire cast of characters in Dracula is a significant departure from traditional adaptations of the novel. This approach places an immense technical and physical demand on Erivo, requiring her to rapidly switch between personas through costume changes and vocal inflection. The integration of live camera feeds adds another layer of complexity, demanding precise timing and coordination between Erivo’s performance and the technological elements of the show.
Erivo’s return to the West End follows her recent role alongside Ariana Grande in Wicked: For Good. This latest venture represents a deliberate shift in artistic direction, moving away from the large-scale spectacle of Wicked to a more intimate and demanding solo performance. The production is scheduled to run until the end of May 2026.
The situation highlights the increasing scrutiny faced by performers in the age of social media. The immediate and public nature of online criticism can create a challenging environment for artists, particularly during the preview phase of a production when performances are still being refined. Erivo’s decision to disregard this feedback reflects a conscious effort to protect her creative process and maintain focus on delivering a compelling performance.
The use of technology in the production, while innovative, has also become a point of discussion. While the live camera feeds are intended to enhance the audience’s experience, reports of Erivo’s reliance on an autocue have raised questions about the authenticity of the performance. The actress’s acknowledgement that she was still learning her lines during previews suggests that the technology may have been used as a support mechanism during that initial phase.
The success of Dracula could be seen as a potential turning point for Erivo, following some recent scrutiny. The production’s unique format and Erivo’s dedication to the role have generated significant buzz, and her ability to navigate the challenges of a solo performance will undoubtedly be closely watched by critics and audiences alike. The show’s run will be a test of both her artistic resilience and the audience’s willingness to embrace a new and unconventional approach to a classic story.
