Review: Eve of St. George (TranscenDance project)

TranscenDance Project makes a spectacular return with its production of Eve of St. George, an immersive reimagining of Bram Stoker's eerie tale of Dracula. Guests don masks and are set free to roam the three levels of The Great Hall, transformed into a gothic Victorian setting where the stories of sixteen characters come to life. Created by the ingenious Julia Cratchley and scored by the award-winning Canadian composer Owen Belton, this performance is truly an unmissable treat.

My first encounter with TranscenDance Project was a similar immersive performance titled A Grimm Night, following the Grimms Brothers' stories. I jumped at the chance to see another performance by the company. Although this is my first encounter with the performance of Eve of St. George, it is back for its final performance after first gracing the Great Hall in 2018 and 2019. I hope that this signals new immersive works in the pipeline, as I truly wish this was a Toronto staple in the performance scene. This performance was a little spicier, sexier, and scarier than the Grimms Brothers, adding a thrilling edge to the experience!

A recap of how the show works: upon arrival, you are handed a small wax-sealed invitation and a masquerade mask, setting the stage for a fully immersive experience. Audience members wear masks to easily distinguish performers and ushers. You then become a fly on the wall to the story, with the freedom to choose which characters to follow through the night as they traverse three different floors of the Great Hall. 

I suggest familiarizing yourself with the story of Dracula before attending to fully appreciate the intricate details woven throughout the performance and to quickly grasp the performers' characters. However, it's not essential; you can still enjoy an incredible experience without prior knowledge.

The story of Dracula unfolds through a series of letters, diary entries, and newspaper articles, all of which are cleverly integrated into the Great Hall's setting. It begins with Jonathan Harker (Connor Mitton), a young English solicitor, traveling to Transylvania to assist Count Dracula (Jack Rennie) with the purchase of an estate in England. Harker soon discovers he is a prisoner in Dracula's castle and that the Count has malevolent intentions. Dracula preys on Lucy Westenra (Jazzmin James), a friend of Harker's fiancée, Mina Murray (Kelly Shaw). Lucy's health deteriorates after a bite from Dracula, and her loved ones, including Dr. Seward (Colleen Snell) and Van Helsing (Ryan Lee), fight to save her, ultimately leading to her tragic end. The story then intensifies as Dracula's influence spreads, resulting in a thrilling battle between the vampire and those who seek to stop him.

Regarding this performance, the attention to detail in costuming, design, and character portrayal is nothing short of remarkable. Simply walking through the space, you can appreciate the meticulous craftsmanship of the show. The world-class performers are in top physical condition and demonstrate flawless technique. Their ability to execute intensely physical movements, such as flips, turns, and partnering, in a confined space with limited control over their surroundings is truly incredible. As the audience becomes more engaged and starts to crowd the performance areas, the performers' skill in navigating these challenges is even more impressive (although it's best to avoid blocking entryways).

My favorite dance sequence featured a trio of female performers (playing Vampire Brides) dancing shirtless, yet elegantly covered by a long black cloth that concealed everything even as they gracefully moved through the space. While there wasn't a single weak link in the cast, I was particularly drawn to the portrayal of the prisoner Renfield (Joey Arrigo). In one memorable scene, Renfield is compellingly dragged across the castle under the force of Dracula's hand, a performance executed with exceptional skill. I also observed Arrigo's Renfield picking sunflower seeds off the floor of their jail cell and eating them, even offering them to passing guests – a testament to their outstanding commitment to the role. In the story, Renfield is a patient in Dr. Seward's asylum, known for their peculiar behavior of consuming insects and small animals to absorb their life force.

Various ticketing options offer different levels of access to the performance. I had the privilege of experiencing the VIP treatment, which includes a one-on-one interaction with a characters before the show and a perfectly themed cocktail – for this performance, a concoction made with a bright red syringe and champagne. I had a delightful encounter with Arthur Holmwood (Tyler Gledhill), who portrays Lucy's fiancé in the story. Regardless of your ticket tier, Eve of St. George promises to be an unforgettable experience for all attendees.

There is almost nothing like getting your own unique and personalized experience in Eve of St. George. Get your tickets before they are gone (because they will be gone!)

Eve of St. George, presented by TranscenDance project, is playing until February 24th, 2024 at The Great Hall (1087 Queen Street West Toronto, ON M6J 1H3). Tickets range from $55 - $150 and are available online here.

Disclaimers for the performance:

Photos by SVPhotography.ca

For more information:
www.transcendanceproject.com @transcendanceproject

Written by Deanne Kearney
DeanneKearney.com @deannekearney