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This production is recommended for ages 12+.
Performance Dates
7 Feb - 30 May 2026.
Run time: 1h 50mins
No interval
Across stage and screen, Dracula has been endlessly reimagined, but this bold new Dracula play London audiences can now experience offers something strikingly different — a thrilling one-woman performance led by Cynthia Erivo. Adapted and directed by visionary theatre-maker Kip Williams, this strictly limited West End run has drawn praise for its “mesmerising theatrical invention” and “electrifying central performance.” Playing at the Noel Coward Theatre, this Dracula play delivers a fresh and ultra-modern take on the gothic classic.
In this haunting retelling, Count Dracula emerges from centuries of isolation, setting his sights on new victims as obsession, desire, and fear intertwine. As the story unfolds, familiar characters collide with an unstoppable force that blurs the line between seduction and terror. This Dracula West End production will appeal to fans of psychological drama, gothic storytelling, and inventive theatre-making, as well as audiences looking for a bold new interpretation of one of literature’s most enduring horror stories.
This reimagining of Dracula transforms the classic tale into a theatrical event unlike any other, with Cynthia Erivo performing all 23 roles in a technically ambitious and emotionally charged production. A celebrated West End performer, Erivo previously starred in The Colour Purple and A Midsummer Night’s Dream, and many audiences will recognise her as Elphaba in the recent Wicked film franchise. A three-time Oscar nominee and winner of a Tony, Emmy and Grammy Award, she brings extraordinary range and intensity to this Dracula play, redefining the iconic character through a modern, cinematic theatrical style that pushes storytelling into thrilling new territory.
You can book Dracula tickets with us online and in advance to secure the best seats for this limited West End run. Tickets are in high in demand, so early booking is recommended.
This Dracula play in London is showing at the Noël Coward Theatre in the West End.
Cynthia Erivo stars in the production, performing all 23 roles in a bold one-woman production.
No, Dracula is not a musical. It is a play, focusing on dramatic storytelling and performance rather than songs.
Based on the novel by Bram Stoker, Dracula follows the infamous Count as he pursues new victims, blending gothic horror with themes of obsession, power, and fear.
If you’re captivated by Dracula’s dark atmosphere, explore more unforgettable stories across our plays and musical collections. The Phantom of the Opera shares gothic romance and mystery, or for a supernatural twist with comedy, Beetlejuice offers a playful alternative. Discover more West End favourites and book your next theatre experience today.
“I can't watch horror - I get horrendous nightmares” the Tony-nominated director admits, so why has Kip Williams sunk his teeth into an ambitious adaptation of Dracula? Well, it wasn’t for the blood and gore of the gothic classic “I was drawn to the social, cultural and scientific progress of the era, as well as the puritanical push back it encountered…it questions the values and paradigms that are seemingly having their apotheosis today” he explained.
Williams' critically acclaimed works hold a mirror to society - literally in the case of the Olivier Award-winning The Picture of Dorian Gray. So it’s not surprising that Dracula, the latest in Williams’ cinetheatre trilogy, is a strikingly contemporary meditation on identity, surveillance and selfhood. “All of Stoker’s characters are caught in complex acts of self-curation and censorship - in a way that mirrors our lives today. I'm interested in the way they struggle to embrace their authentic self, and for me, part of what makes that challenging today is the fear that we are being watched by those who will not accept us”
In Williams’ hands, Dracula is no longer just a blooducking (and bloodcurdling) gothic tale, but a piercing examination of our public and private selves, and the monsters we create in order to protect ourselves. Using cameras and giant screens, he has transformed Stoker’s world into something eerily recognisable, where identity is constantly performed. Williams’ explains “I believe very much in the Shakespearean notion of holding the mirror up to nature, so it is impossible as a contemporary artist to not be grappling with the way this technology is infiltrating so much of our lives”
We sat down with Williams to discuss the challenges of bringing an undead, centuries old vampire to life live on stage (and screen).
How did you direct Cynthia Erivo’s performance for both the live audience and the camera simultaneously?
The cinetheatre form requires a performance style that is both cinematic and theatrical. It requires the actor to be alive to the immediacy of the camera, whilst maintaining a scale that holds a 900 seat auditorium. Cynthia and I often spoke about scale, and playing with when she might explore being smaller to accentuate the tension of Stoker's ghost story, and when the scale might become more operatic as the emotions of the characters boil over. While we're shooting the pre-record elements, we kept reminding ourselves how the scale of image was operating within the theatre proscenium as a way to keep these performances matching those that would take place months later on stage.
15 Apr, 2026 | By Sian McBride
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