"As I made my way up the hill from Highgate station earlier this week, there was something in the air. Was it the thought of seeing a play about Dracula close to Halloween? Was it perhaps seeing a play about a vampire in an area of London which boasts its very own legendary bloodsucker? Or could it have simply been the crisp autumnal breeze? The fact is, it was none of these things. It was rather the tingling anticipation of seeing another piece of theatre from James Hyland and Brother Wolf Productions. It's no secret how much I have loved their previous works. In fact, Hyland was crowned Actor of the Year in Pink Prince Theatre's 2025 Review of the Year, so it's safe to say that my expectations were sky-high. I know just how much research Hyland puts into his adaptations, and DRACULA'S GUEST is clearly no exception to this rule. As the audience entered the auditorium, we were greeted by a man sitting at a table holding his head in his hands, as an eerie tune played repeatedly. Side note - Chris Warner has created a wonderful soundscape here. Already the wonder and anticipation began to grow. As the lights went down, Hyland, in the role of Dracula, appeared from the darkness. And so it began. Drawing from Bram Stoker’s deleted first chapter and earlier drafts, this adaptation subverts expectations by trapping us inside a claustrophobic, psychological pressure cooker. We are thrust into an isolated setting where Count Dracula plays a sickening game of cat-and-mouse with his captive visitor Renfield. What is so remarkable is how Hyland’s staging manages to induce such a suffocating, trapped feeling. Upstairs at the Gatehouse is, by fringe standards, a relatively large pub theatre, yet the sheer intensity of the performances forces the walls to close in on you. The emptiness of the surrounding stage doesn't offer breathing room. Instead, it isolates the characters in a void, creating a dense, heavy atmosphere that makes you feel as though you are locked in the room right alongside them. Instead of a sprawling gothic travelogue, the narrative focuses entirely on the torturous hospitality Dracula inflicts upon his guest. It is a slow-burn descent into madness that examines the very nature of isolation and torment, keeping the audience on a knife-edge as the power dynamics shift and warp without ever revealing the final horror until it is far too late. One of the great things about watching a reimagined version of a classic is that you never quite know what the characters are going to be like or how the story is going to play out. Here, Renfield is a chartered surveyor, and seemingly quite a sane man - to begin with at least! Instead of the fly-eating lunatic locked in an asylum from the outset of Stoker’s novel, this Renfield is an educated, professional man who has arrived on legitimate business. Watching his polished exterior systematically unravel is nothing short of harrowing. Ashton Spear is phenomenal as Renfield, charting a devastating course from polite, baseline rationality to absolute, primal degradation. Spear commits so completely to the visceral decay of his character's mind that you can practically feel the panic vibrating off him. Hyland's Dracula, unlike in other recent adaptations I've seen, is not big or intimidating in stature. Instead, all of his power lies in his words. The way he plays with and manipulates his victim is pure poetry in motion. The rhythm of Hyland’s writing and delivery has a flow that had me clinging to every word. He is calm, yet calculated, and is simply terrifying. There is an icy, aristocratic stillness to his presence that commands the entire room. He doesn't need to shout or bare his fangs to dominate the space because his predatory intellect does all the heavy lifting for him. Utter genius. The physicality displayed by both actors is magnificent. There is an undeniable kinship between the two, which allows an intimacy and psychosexual relationship that is unparalleled. It's rare to see two performers not only so at ease with each other, but also giving themselves over completely to their characters. This is bona fide acting at its very best. The set is sparse, but no more is needed. With writing and performances this good, there is no need to clutter the stage. The lighting design, although simplistic, works exceptionally well. Hyland's direction is not afraid of the darkness, pushing characters into the low-lit corners, adding emphasis to their words. Word of warning though - the ending is quite gruesome and horrifying, so be prepared! If you are at all squeamish then you're in for a rough ride, but believe me when I say, it's totally worth it. The way the final scene is portrayed shows just how much can be done in fringe theatre, without the big budgets, but instead with pure imagination. It leaves a striking, bloody image burnt into your retinas that you won't soon forget. This is yet another incredible piece of theatre from a hugely talented company. Having seen a number of their productions, I can honestly say that they always deliver a fantastic theatrical experience. CLICK HERE to head to Brother Wolf's website to learn more about their shows, and to check dates for upcoming performances."
Rating: ★★★★★
~Neill Kovacic-Clarke, PINK PRINCE THEATRE
Original Source: https://www.pinkprincetheatre.com/post/review-dracula-s-guest-upstairs-at-the-gatehouse
"As the nights draw in and Halloween creeps closer, Brother Wolf Productions has presented Dracula’s Guest for one night only at Upstairs at the Gatehouse. This name is a red herring as although we see Dracula on stage in full noble glory, his guest is an unwilling prisoner by the name of Renfield. Dracula and Halloween are somewhat synonymous with gothic literature and after publication in 1897, it has remained in publication ever since. This two-man production sees Dracula (James Hyland) and a chartered surveyor named Renfield (Ashton Spear) having dinner in Dracula’s castle in Transylvania. The staging is sparse; a dinner table, two chairs and a rotting pig’s head for dinner set the scene, and the attention is focused fully onto the spiralling discussions of the two characters. Mercurial and a sinister force to be reckoned with, Dracula is enjoying taunting Renfield with rotten meat over the course of the evening and uses his impressive physicality and twisting words to drive his guest to the point of insanity. Hyland oozes sophisticated terror as Dracula and is an impressively restrained and calculating predator. Spear is brilliant as Renfield, showcasing the tormented soul well and although initially defiant and human, descends slowly into tortured madness. There are plenty of twists and turns and although it looks like Dracula always wins in this tale of revenge, power and the impact of colonialism, there are also twists that show Renfield has a strength and power of his own. I was thoroughly impressed by the vivid and realistic chemistry between the two actors on stage. This is the third show I have seen performed by James Hyland and a Brother Wolf production. Each time Hyland impressively raises the bar of what is possible in modern theatre. His attention to detail is immaculate and the story is impressively researched so that its themes, nuances and vividly gothic ideals are brought into incredible life on stage. The plot is not an exact copy of Stoker’s infamous novel but a reimagining of the original chapters and the deleted initial chapter from earlier drafts. This works well to keep the audience frozen in anticipation and unsure where the story will lead, although you will have guesses whizzing through your mind. This story also perfectly encapsulates the creeping, bone chilling horror that is Dracula in the original novel as opposed to softened adaptations which have filled our screens for the last century. Hyland is a genius with adapting classic literature for the stage in vivid and immersive tales which leave shivers down your spine whilst desperately wanting more. The show is 60 minutes long, but the pace is fast and powerful throughout, expertly building the tension and unease and mounting to the final crescendo in an impressive performance. Chris Warner’s musical melody is simple but entirely mournful and incredibly captivating in its use in the story. This is a production for adults only due to the nature of props on stage and the discussions that occur throughout. I would not suggest this production if you are squeamish with blood or insects as the finale is disturbing and not pleasant if you are not good with physical horror. But, if you enjoy horror and don’t mind gore and viciousness then this is the perfect show for these bitter Autumnal nights. It’s a haunting story that will set you perfectly in the mood for Halloween, one that showcases the sinister and vicious character of Dracula perfectly."
Rating: ★★★★★
~Cathie, THEATRE & TONIC
Original Source: https://theatreandtonic.co.uk/blog/draculas-guest-at-upstairs-at-the-gatehouse-review
"Gothic horror stories have intrigued and entertained audiences for many years. In 1897 Bram Stoker’s Dracula was published and since that time thousands of versions and interpretations of this famous work have followed. Dracula’s Guest is a two-act performance where Dracula (James Hyland) tries persuading his “guest” Renfield (Ashton Spear) to become one with him. Hyland, commands and dominates the stage from the beginning. His powerful beguiling voice has you jumping in your seats on many occasions. The cleverly scripted narcissistic manipulated mind games that he uses against his guest/victim Renfield at times leave you questioning what the truth is. Very much in keeping with how narcissistic people behave. The strong physical performance between Hyland and Spear was breathtaking at times. Every punch, throw and strangulation appeared authentic. The powerful performance by the two actors demonstrates a crucial sense of mutual trust and respect between them. One wrong move could have seen either one of them seriously injured. Dracula”s iconic cape and fangs have been exchanged for a smart mourning suit. Giving Dracula’s character a softer aesthetic impression. Contrasted against Renfield who we first see when entering the Theatre, rocking on the chair in a tatty white shirt which at one time would have been smart... Sitting in the front row there was a genuine feeling of unease when Hyland came too close. It’s extremely unlikely he would have broken the fourth wall and spoken to the audience directly but the energy and tension levels were running high from his performance as Dracula that anything would have been possible. Adapted and directed by Hyland as well it is evident throughout the performance that he understands every twist and turn that is taken. Directing himself in some of those scenes cannot have been easy and demonstrates a strong sense of self-awareness."
Rating: ★★★★★
~Elaine Chapman, THEATRE AND ARTS REVIEWS
Original Source: https://theatreandartreviews.com/2022/07/10/draculas-guest-presented-by-brother-wolf
"The thrilling tale of 'Dracula's Guest' by Brother Wolf... Ashton Spear and James Hyland bring a haunting Victorian horror story to life, contemplating death, revenge, morality, and spite. As part of the Old Red Lion Theatre's GRIMFEST, I attended a haunting production of Dracula's Guest, put on by Brother Wolf, an art/theatre company. The scene opens with a dimly lit sparse stage and eerie music floating through the room. Seeing this play on the night of Halloween certainly added to the atmosphere! The character of Mr. Renfield rocks back and forth, and his superb physical acting was evident from the moment the play began. To those of you familiar with the works of Bram Stoker, Mr. Renfield's character in this play is a convergence of both Renfield (a patient in an insane asylum) and Jonathan Harker (an English solicitor) - though prior knowledge of the story is not necessary, as the plot quickly becomes clear. More than anything, it is the psyche of the two main characters - Renfield and Dracula - which pushes the play forward. Mr. Renfield, a prisoner in the castle of Dracula, questions why he has been brought here. In turn, Dracula mocks and tortures him, carrying out a twisted revenge plan which unravels as the play goes on. What is fascinating about this version of events, is the unique perspective of Dracula - in a way, he is a victim in his own right. He is a victim of colonisation, and of the British Empire, as this play adds a thought-provoking commentary on loss and love. Despite the clear evil radiating off Dracula, through him, we learn what it means to be harmed and to thus cause harm in return. This play is not for the faint of heart, as it is deeply uncomfortable at times - though that is what makes it so wonderful. The essence of the Dracula story is captured here. It is a stripped-back performance, as we are invited into the psyche of two characters. The simplicity and claustrophobia of the setting make the voice and physical acting more prominent. Renfield captures the essence of a prisoner, flitting between shudders of fear and moments of clarity, as he remembers his inner strength. Dracula is elusive, as he perfectly characterises a manipulator - he is charming, yet brief fits of rage unveil his true nature. Dracula's gaslighting of Renfield is particularly powerful, as his attempts to make Renfield doubt his own reality bled into the audience... Of course, there were a few moments of morbid comedy which cannot go unmentioned...This fascinating play is perfect for those looking for a Bram Stoker reinterpretation or for a dark psychological exploration of loss, revenge, and death."
Rating: ★★★★★
~Kashmini Shah, VOICE MAGAZINE
Original Source: https://www.voicemag.uk/review/11865/the-thrilling-tale-of-draculas-guest-by-brother-wolf
"Widely understood to have been the intended first chapter of Bram Stoker’s ‘Dracula’ – removed when regarded as superfluous to the rest of the novel – in this adaptation, we saw the importance of Dracula’s Guest reinstated. James Hyland has reawakened this somewhat neglected tale, providing it with new meaning and using it as a vessel to explore modern-day themes. The play began with an already tortured R.M. Renfield, practically writhing in his seat, conveying to us that we arrived at the character’s story long after it had begun. The decision to use Renfield – an already mentally unwell character – as Dracula’s guest, was an interesting one but worked perfectly to highlight themes of madness and manipulation, also allowing exploration and expansion of such an interesting character... Renfield’s ‘sanguine personality’ which he was said to have possessed in the original telling of Dracula, had evidently been drained from him, following mental and emotional torture from his host. Dracula’s calculated maddening tactics show him essentially gaslighting Renfield, in a deliberate attempt to drive him insane. We see Dracula – played terrifically by James Hyland – toying with him at every word, like a cat to a mouse; it’s almost comical for the audience until deeper and darker themes are uncovered. Upon leaving the theatre I heard an audience member describe the performance as short, but remarkably intense which seems an apt summary. Hyland and Shon transformed Dracula’s Guest, delivering a 124-year-old tale as if it were new. This was the perfect choice of story to breathe new life into, applicable to modern-day themes yet true to Victorian gothic horror. Following the performance, I was keen to know some more about the show, so got in touch with Artistic Director and Founder of Brother Wolf, James Hyland, who told me a little more about his version of Dracula’s Guest, as well as what we can expect from Brother Wolf.
Rating: ★★★★★
~Eloise Lonsdale, OX MAGAZINE
Original Source: www.oxmag.co.uk/articles/review-draculas-guest
"It's not often I come across an adaptation as startlingly original, and yet true to its source material, as Brother Wolf's "Dracula's Guest". From the off, we are treated to a detailed character study involving two nuanced individuals who, through no fault of their own, are slaves to their fate and thus prisoners to its demands. Suffice to say, it is a truly intense theatrical experience, the quality of which rivals the very best of what the West End has to offer. As a Gothic horror aficionado, I can honestly say that "Dracula's Guest" is, at least for me, the Godfather of vampire adaptations. Unique, powerful and timely with thrilling performances by two actors at the top of their game. Absolutely unmissable."
Rating: ★★★★★
~Mark Carter, BRITISH THEATRE JOURNAL
"Dracula’s Guest is a pretty powerful slab of theatre... the two protagonists steadily ratcheted up their performance to transform an intriguing victim/captor conversation piece into an extraordinarily violent physical drama with strong homo-erotic overtones as it reached its bloody conclusion. We give it a 666/666 so go see it while you can."
Rating: ★★★★★
~SIMON'S HORRIBLE HOTHOUSE OF HORROR
"The show is a two-handed re-imagining of Bram Stoker's seminal Gothic novel, rather than a direct portrayal of the author's short story of the same name. Although there are some similarities with the original piece, the play focuses on the titular Dracula and his clearly unwilling Guest, a character you will be familiar with from the novel, although not who you might be expecting! Through the course of 50 or so minutes, the audience was treated to a wildly vicious and vindictive vamp, taunting and teasing his Guest as he spiralled further into insanity. The characters generated feelings in the audience from shock to disgust, and occasional sympathy for both. Our emotions were further assaulted by the intimate, almost claustrophobic atmosphere of the small performance space and the professional projection from the two actors. As a fan of the original work, I found the premise fascinating, and was thrilled as I pondered the purpose of rewriting the piece to feature an interesting but fairly minor character from the novel. The ending came with a truly terrifying twist that few expected and left us with more questions. A thoroughly enjoyable hour. Heartily recommended!"
~ScareTOUR
Original Source: https://www.scaretour.co.uk/draculas-guest---white-bear-theatre.html
"Brother Wolf presents this creative adaptation of Bram Stoker’s Dracula’s Guest. The title is suitably euphemistic as it is revealed that Mr Renfield is being held against his will as Dracula continually glosses over this with a grandiose/ mocking hospitality. Dracula delves into the past, mapping out the scene to an eventual conclusion in which Renfield is forced to choose between two diabolical options. In the intimate studio space, the stage is minimal with a table, two chairs and a few props... An eerie environment is instantly established as Dracula walks in... There is a chilling atmosphere as you envision them surrounded by the gloomy walls and maze of a castle. Both actors gave vocally flawless and emotively rich performances. James Hyland’s Dracula is perfectly extravagant with a veneer that masks his emptiness but enough emotion to hint at his former living self. His calculating nature is disguised by a dangerously charming front. Hyland’s movements are smooth and deliberate. He is not the conventional Dracula as there is a business/showman aspect to his performance that is particularly unsettling as it is incongruous to his secluded lifestyle. His intensity and ferocity is terrifying, even in silence it is concentrated in his sharp, devious eyes. Ashton Spear’s Renfield is morally robust and stubborn. Shaking and disturbed throughout as Dracula gaslights him, Renfield is tortured as he doubts or defends himself. The two orchestrate this claustrophobic power dynamic excellently. Renfield’s transformation was gripping and intense and felt strangely intrusive to watch. It was horrific but mesmerising. Spear’s movements and utterances were instinctive and animalistic.... Hyland’s adaptation feels like a warning to the motivations and secret agendas of others. A huge theme throughout is also the delusion of conflating a person with a place and holding them responsible for what their ancestors have done. This play is politically relevant with fascinating psychological aspects and is a brilliantly clever, albeit disturbing take on a classic."
~Riana Howarth, NORTH WEST END UK
"Described as 'based on the works of Bram Stoker', I wondered – is this going to be an adaptation of the eponymous short story? Or something else entirely? The play opens with a twitchy, dishevelled and distinctly haggard-looking young man...The young man is soon joined by an older, more urbane looking man who addresses him as Mr. Renfield…. So, this is obviously not a reworking of Stoker's short story about the unnamed traveller who takes an excursion to an abandoned village on Walpurgis Night and finds himself sheltering from a snowstorm in a derelict graveyard… Perhaps, then, we are being told Renfield’s backstory – before he ends up in Dr. Seward’s asylum? But no, this reworking of Dracula's story has a rather different emphasis. Revisiting the series of conversations between Dracula and Jonathan Harker in Stoker's novel, here we have chartered surveyor Renfield, who - like Harker – now realises he is a prisoner rather than a 'guest', and is becoming ever more desperate. Dracula, meanwhile, appears charming, hospitable and plausible – yet will not let Renfield leave his castle. And it is the discussion between the two protagonists that is the focus of the play. Dracula has become embittered after reliving centuries of memories – of lost love, and past glories defending his country from invaders, while Renfield espouses the values of Victorian expansionism. The debate increases in intensity as Dracula reveals the only terms upon which Renfield can leave, and we arrive at the final, gory and blood-spattered, climax. Excellent performances from Michael Shon as Renfield and James Hyland as Dracula; in the intimate enclosed space of the White Bear theatre, this is just about the most intense 55 minutes of drama you’re ever likely to encounter.
~Julia Kruk, VOICES FROM THE VAULTS
"An INCREDIBLE performance... 55 minutes of nerve-shredding suspense and a final scene that's guaranteed to shock you out of your seat and give you nightmares for weeks. This diabolical descent into Victorian Gothic horror is a must-see."
~Peter Fuller, VINCENT PRICE LEGACY UK
"Based on Bram Stoker’s legendary character, this two-hander delves into the intense psychological manipulation the famed vampire employs to bend his victims to his will. We meet clearly distressed Renfield, on the verge of collapse... Dracula, seeming larger than life in stark opposition to unkempt and exhausted Renfield, runs circles around his guest, taunting and provoking him at every opportunity. There is palpable energy in the room, an atmosphere of distress and desperation. Ashton Spear is intense as Renfield, cycling from nervous breakdown to rambling speech and back, challenging his captor one second, cowering in fear of him the next. Opposite him, James Hyland is a superb Dracula, fully inhabiting the character in voice and gestures, with tangible intensity, edging ever closer to this ultimate goal. Dracula’s Guest is a spectacle of physical theatre, both Spear and Hyland committing fully to their roles. There is desperate violence mixed with frantic contrition, both characters spiralling towards each other and their inevitable end. Spinning the tale of Dracula around colonialist imagery adds a jarring depths to the story, enveloping the audience in an aura of fear and anguish. With the brutality between and close proximity to the two rivals, the small pub theatre space seems to close in as the performance intensifies. A superb piece of horror theatre, presented with striking commitment!"
~Bianca, A SHINY LIFE FOR ME!
"James Hyland is very good indeed at adapting classic texts and coming at them from a fresh point of view. I’ve seen him in at least three one-man takes on nineteenth century novels being both powerful and riveting. This time it’s a two hander, very focused adaptation with the excellent Ashton Spear as Renfield against Hyland’s own Count Dracula. At just sixty minutes it’s appropriately succinct. It would be hard to sustain (or to watch) such relentless intensity for much longer. Bram Stoker’s famous 1897 novel is epistolary and, therefore set in various places. Hyland’s version is staged in one claustrophobic room in Dracula’s Castle in Transylvania with a minimalist set... Hyland is magnificent and terrifying. His voice ranges from soft cajoling to what a musician would call a subito fortissimo and he does it repeatedly so that neither you, the audience member, or Renfield within the play can relax for a second. He is a very dangerous man (or something) and the dramatic tension is sharply arresting. Somehow the fact that Hyland in this role looks like the then Prince of Wales (who became Edward VII four years after Dracula was published) makes it feel all the more shocking. And although there’s nothing as corny or predictable as pointy teeth the scenes in which Dracula attacks Renfield fall somewhere between a hideous macabre dance and a rape. The synergy between these two actors, as they spar around each other in what is effectively a power struggle, is what drives this fine show. Moreover I have rarely seen a more convincing account of on-stage insanity building to a manic climax than Spear’s work here. And the finale with fake blood is masterly. It could easily degenerate into melodrama. In the event it’s horrifyingly realistic."
~Susan Elkin, SARDINES MAGAZINE
"As the plays starts, Dracula appears and, unlike the short story written by Bram Stoker, we are taken on a psychological journey between the men. Renfield, like Jonathan Harker in 'Dracula', is a prisoner in Dracula's castle, and is being tortured by Dracula in many ways. Dracula plays on Renfield's state of mind, partly caused by this imprisonment, and teases him. Some weightier issues come to the fore in their conversations, including Dracula blaming England for its colonization of the world, rather than Dracula's Transylvanian historical adventures, hinting at his military past. Dracula physically throws Renfield about the stage, which comes as a bit of a shock, from time to time, and firmly makes Renfield feel he is the truly mad man in the room... We really enjoyed it... Do keep any eye out for it."
~Des Bradley, THE DRACULA SOCIETY
"Yesterday I was fortunate enough to take a trip to Felixstowe’s Two Sisters Arts Centre to see the play Dracula’s Guest, an adaption of works by Bram Stoker. The play, produced by Brother Wolf Productions starred award-winning actor James Hyland, who wrote the adaption, and also Ashton Spear. I was so impressed! As I said on their page, it was pure gothic spectacle – very ‘Webster’. Dark, brooding, ironic, hyperbolic, brilliant! It was unnerving from the moment I stepped in to hear the creepy music box tinkling... I was literally on the edge of my seat – and I do mean literally- leaning forward and intensely fixed on every twitch, snarl and spurt of blood! I managed to escape without a splash even though I was in the front row... Hannibal Lector hasn’t nothing on James Hyland’s psychopathic Dracula... In the final terrifying climax, I felt like I had travelled back in time – I was a Jacobean spectator watching a Websterian revenge and horror fest. And to be honest, I had already found myself sympathising a little with the Count in that way the psychopath always begins to convince you his argument is right – was his anger justified?... In this production, as in Stoker’s novel, ideas about Imperialism, revenge, sexual repression, salvation, madness and redemption are explored... As in the best gothic tales, we are forced to confront the possibility of ‘evil’ being within all and any of us. I felt an extraordinary sense of catharsis at the end, and that wine was much needed. I could say so much more – but this is not an academic essay – my best advice is to go and see it for yourself. However, remember to eat first though, I didn’t fancy a lot of food later!"
~Virginia Betts, PUBLISHED AUTHOUR & ENGLISH TUTOR
Original Source: https://virginiabetts.com/2022/11/26/draculas-guest