Steven Moffat and Mark Gatiss’ adaptation of Bram Stoker’s Dracula for the BBC is bold, gory and dripping with dark humour. Although it boasts some terrific performances, mainly Claes Bang as the Count, as well as some blood-curdling set pieces, the adaptation as a whole seems to prove that sticking to the source material is best. Various issues with characterisation, pacing and iconic omissions from the novel drain this adaptations’ chances of being a real scream. 

The first episode is probably the most successful, as it follows lawyer Jonathan Harker (John Heffernan) to Dracula’s castle in Transylvania. Jonathan quickly realises that he is Dracula’s prisoner. The production is well shot and finely detailed, with director Johnny Campbell making full use of the atmospheric set of Castle Orava in Slovakia, to build on Harker’s feelings of claustrophobia. The first episode is the most faithful to the book, as we watch Jonathan’s descent into madness and the Count’s rise in strength. Bang appears as the fully-fledged Count half an hour in and manages to handle the darkness of the character and his wit with dexterity. It’s brilliant casting, and Bang captures the essence of so many actors that have gone before him in the role. 

The episode also makes good use of blood and gore, with some fantastic set pieces, such as Dracula climbing out of a wolf. The scene is horrifying but makes for riveting viewing. It is also comedic, as Dracula emerges in all his naked glory to a bunch of stake-carrying nuns who cannot look him in the eye. A key example of the show’s ability to handle horror and humour. Sister Agatha is played by the wonderfully witty Dolly Wells whose pivotal role is excellently revealed to the audience.

Despite the praise directed at the first episode by critics and audiences, book lovers may be disappointed that the iconic Brides of Dracula fail to appear and that Jonathan’s once headstrong and powerful fiancée Mina Murray (Morfydd Clark) is reduced to a screaming weakling in a fairly diabolical blonde wig. All adaptations deviate from the source material to an extent, but the omission of Mina especially feels like a waste of a strong female character, already gifted to us by Stoker. 

The second episode maintains the high production values, but cannot help feeling dragged out and at times, monotonous. As Dracula sails to England on the Demeter, members of the crew begin dying out, one by one. This would be gripping if we did not witness Dracula kill them all, as this creative decision results in mystery only for the unengaging passengers. There’s probably a reason as to why this voyage takes up a very small part of the novel. Although there are some great opportunities for blood sucking here, there’s only so many times you can watch the Count drain his next victim without it being repetitive.

Episode three marks a great departure from the previous episodes due to a twist at the end of the second episode. Although it starts well and runs almost like a crime thriller, the third episode begins to be bogged down with more unengaging characters, headlined by the writers take on classic character Lucy Westenra (Lydia West). Unfortunately, she lacks character and her iconic scenes from the novel are omitted. Her story overshadows that of Dracula who doesn’t find himself with much to do. 

After an unnecessary five and a half hours of television, the somewhat romantic ending feels like an unearned U-turn from the darkness that has preceded it and undercuts the Count’s previous cries that he will drink his ‘fill’ of humanity. Following these promises, the ending to the series is an anti-climax.

All in all, the adaptation had promise but suffers mainly as it deviates from Stoker’s brilliant novel and reiterates the idea that the classics are classic for a reason, and do not need to be changed.

Rating = 3/5