On February 21, 2014 – almost eight years to the day – Michael Pink and Philip Feeney’s production of “Dracula” appeared on the Kauffman Stage for the first time. Thinking back to my review at the time, I see I mentioned that I wouldn’t mind seeing him as part of the company’s regular rotation, perhaps making an appearance every few years or so. Well, it took a while but it’s back, and I have to say, it’s still as enjoyable as I remember.

Of course, a lot has changed since then: the events of then and now would have escaped the belief of the version of myself who experienced that first production. And let’s face it: the idea of ​​a monster coming to us, corrupting us, and turning us into the living dead hits very differently now. How strange that in our darkest hours we return to horror for dark comfort.

The story follows a very abbreviated version of the events of the book: the young lawyer Johnathan Harker (Lamin Pereira) travels to Transylvania to help the mysterious Count Dracula (Liang Fu) buy real estate in England. There, he is tempted by three female vampires and ultimately bewitched by the eponymous Count himself. Later in England, his wife Mina (Danielle Fu) watches her friend Lucy (Kaleena Burks) be bewitched and transformed by the newly arrived Count. When Mina herself is the next intended victim, it’s up to John and their friends Arthur, Quincey, and Dr. Van Helsing (Humberto Rivera Blanco, Cameron Thomas, and Christopher Ruud, respectively) to end the threat once and for all.

It’s worth mentioning (but not without slight embarrassment) that this is the first time I’ve witnessed a staging of this material after actually reading the book, having finished it only a few weeks ago. The whole is very good and quite faithful, in that such a long novel must be considerably condensed for the scene. Some story elements are left out, others are moved a bit, and so on. Perhaps more importantly, the character of Dr. Seward was integrated into Van Helsing. Overall, however, the ballet does a great job of wrapping up the story.

I have already spoken of the sensual nature of this Dracula. Of course, dance is almost by definition a sensual art form, and it stands to reason that would be the approach taken. In my previous review, I mentioned the Harkers seduction, because indeed a seduction, that’s exactly what it was. Pink’s choreography really highlights that: the scenes where Fu’s Dracula ensnares his victims one by one are darkly beautiful, not to mention the consummate examples of the dancers’ skill (speaking of which, this review would be remiss if she didn’t mention Kevin Wilson’s Renfield, the madman who becomes Dracula’s slave. pas de deux while in a straitjacket cannot be an easy task). Mention should also be made of Mr. Feeney’s musical score, most notably the call to the living dead that opens ACT III, an orchestral and choral work that is, no other word, haunting.

Looking back, I can’t help but agree with my younger self that this is a splendid production that showcases the talents of Kansas City Ballet to great effect, and I hope we see her again. And if it were to keep coming mid-season, so close to Valentine’s Day, well, the sardonic in me can’t help but enjoy it too.