Cynthia Erivo’s ambitious solo adaptation of Bram Stoker’s Dracula at London’s Noël Coward Theatre is proving to be a divisive production, attracting both praise for Erivo’s stamina and skill, and criticism for its reliance on technology and a perceived lack of dramatic tension. The production, which opened on Tuesday, February 17, 2026, sees Erivo undertaking the monumental task of portraying 23 characters and delivering 20,000 words of dialogue in a two-hour performance.
Reviews have been sharply divided. Dominic Cavendish of The Telegraph lauded the show as “an incredible feat of endurance” and a “tour de force,” awarding it four stars. He argued that Erivo “raises the stakes for British theatre” and effectively silences any doubters regarding her capabilities. However, other critics were less impressed. Arifa Akbar of The Guardian gave the production two stars, describing the atmosphere as “sedate” and lacking in “peril,” characterizing the experience as akin to “an audiobook accompanied by screen illustrations.”
Sarah Crompton of WhatsOnStage echoed these concerns, calling the production a “soul-sapping affair” that is “slick, soulless and all about appearances.” She found a distinct absence of “jeopardy or really any true drama.” Adam Bloodworth, writing for City AM, was critical of the show’s technological elements, finding them “deeply unsatisfying and at points very frustrating.” He expressed a desire for a more traditional live performance, stating, “I didn’t come here to watch a film about Dracula, I came here to watch a live show.” Olivia Garrett of Radio Times agreed, noting the show was “let down by overproduction,” and described it as being “stranded in the middle, not dead, not alive, but somewhere in between.”
Despite the mixed critical reception, Erivo herself appears unfazed by the negative commentary. Speaking after the opening night, the 39-year-old actress told the BBC she is deliberately blocking out online criticism. “I’m not paying attention to any of them as no-one knows the experience except me,” she said. “It’s not for me.” She emphasized her commitment to the role and her desire to deliver the best possible performance, stating, “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.”
Erivo acknowledged that she was still refining her performance during the preview shows, admitting she was “still learning my lines and figuring it out.” She explained that the role has gradually become more ingrained, adding, “bit by bit it’s become something that’s a part of me, and everyone’s learning process is different.” The production itself is described as stripped-back and minimal, relying heavily on Erivo’s vocal and physical performance to conjure the Victorian world. Her portrayal of Dracula, delivered in a Nigerian accent and accompanied by bright red hair, is just one of many transformations she undertakes throughout the performance.
Patrick Marmion of The Daily Mail offered a more positive assessment, describing the adaptation as “wickedly good” and praising Erivo’s “astonishing performance” over the show’s lengthy two-hour and five-minute runtime. While acknowledging the demanding nature of the role, Marmion highlighted Erivo’s ability to carry the entire gothic epic on her shoulders.
The production’s innovative use of technology, which blurs the line between film and stage, has been a focal point of discussion. While some critics, like Bloodworth, found it distracting, others recognized its ambition. The show’s success hinges on Erivo’s ability to connect with the audience despite the technical complexities and the sheer volume of dialogue. Whatsonstage noted that a glimpse of Erivo’s vocal power and charisma would improve the show, rather than testing her memory.
Erivo’s transition from the world of musical theatre, where she gained prominence for her role in Wicked, to this darker and more demanding role represents a significant shift in her career. The production’s reception underscores the challenges of solo performance and the delicate balance between technological innovation and traditional theatrical storytelling. The show’s ultimate success will likely depend on whether Erivo can fully embody the complexities of Dracula and captivate audiences despite the mixed critical response and the inherent difficulties of the adaptation.
