“The Blood Countess” reviewed by Mark Reinecke

**** Political intrigue, torture, questionable morality, greed and treachery. Seriously, what more could you possibly want from your evening news or from your beloved local theater company? Michael Dalberg’s The Blood Countess, presented by the Idle Muse Theatre Company under the direction of Tristan Brandon will ask you to decide whether this is a feminist, medieval thriller reclaiming the reputation of a wealthy and powerful woman. Or is it a story of a deranged, savage killer tormenting and torturing 650 girls and young women for nothing more than pleasure? You are on your own. Dalberg won’t tell you. And, fair warning: this will be an exercise on how your pre-conceived notions and values will support – or not – the morbid spectacle you will see unfold.
The Blood Countess is a richly atmospheric, foggy and dark fantasy. It is a gripping tale from start to finish, with layers upon layers of suspense and overflowing with tensions and mysteries. These compelling historical events – the Guiness Book of Records lists Elizabeth Bathory, the Blood Countess, as the most prolific female murderer of all time – will captivate your imagination, invite speculation, and will force you to consider whether we are seeing a monster or a victimized woman in late Renaissance Europe who was a threat to the kingdom’s power structure.

From her deteriorating castle atop a rugged peak in the Kingdom of Hungry in the early 17th century, Elizabeth Bathory (Laura Jones-Macknin) controlled major wealth and vast lands after her husband’s sudden death. This creates a tremendous opportunity for other powerful figures of the time – the Habsburgs, the Ottoman Empire and the Holy Roman Empire – to destroy her and seize her wealth. Her son, Pal Nadasdy (Xavier Lagunas) has little interest in sticking around the castle and assuming the role of Count. He’s gone traveling (that’s a euphemism for who knows what) or is out in the countryside fighting the invading Turks to the utter dismay of his Countess mother.

Rumors of Bathory’s cruelty around the villages flourish and take root in response to an unprecedented role she plays in this vast region and at that time. Perceived misdeeds and ugly gossip are amplified to create a more monstrous portrait of the countess: she bathes in the blood of her virginal victims to retain her youth and soft skin tones! Ultimately, the countess is confined to the walls of her castle until her death in punishment for her deadly beauty regimen.

Laura Jones-Macknin approaches her role with complete and convincing control. She is on stage throughout delivering line-after-careful-line and choregraphing her dark scenes with deliberate, measured movements. She is impressive with her riveting, unpretentious stage presence. And she is scary as a flesh-slicing, acid-tongued character regardless of her innocence or guilt or what is real or not.

There’s plenty to think about here. Dalberg’s script does not sort through vampire lore for you, so it’s up to you to get at the real woman and to decide what is likely accurate. The script only implies the sexual and religious climate of medieval life, important considerations as this single woman is thrust into a leadership role within a pivotal piece of Europe. Under the direction of Tristan Brandon, the boiling passion simmers beneath the surface, especially in the countess’ testy confrontations with the various male characters, all of whom are either weak or ineffectual in comparison to her formidable, fiercely intelligent role.

The skilled cast also includes Mara Kovacevic (as Anna Darvulia), Raul Alonso (as Janos Ujvary), Erik Schnitger as (Gyorgy Thurzo), Mak Van Raalte as (Imre Thurzo), Jeff Broitman (as Istvan Magyari); Kristen Alesia (as Dorotya), Hannah Eisendrath (as Katrina) and Jacque Bischoff (as Ilona). In a second, the countess could reduce these characters to a crumbled heap of dust. But in return, these roles darken some of the dazzle of the countess, clarifying but also complicating our view of this slow-burning, horror-drama of a woman.
This production team (Jeremiah Barr, Scenic Designer) working with a dot of a stage, effectively takes the audience back in time and confines us to a cold, far-away and frightening place. The deliberate lighting (Laura J. Wily, Lighting Designer) zeros in on the intended focal point: whether it be literal darkness, the knife, the chains, the blood, or the dappled lighting on the countess’ face, all of which left indelible images. And together with the Sound Designer L.J. Luthringer there was enough tension in the air to slice.

Costume Designer Jennifer Mohr and her assistant Katie Fletcher created beautiful clothing not just for show or to be looked at. Having done meticulous historical research into the clothing of the period and locale, these garments develop the characters and sense of place. They create a feeling, underscore an emotion, and set the tone to undergird the tragedies unfolding. Ultimately, this production team creates an immersive experience, where all the elements come together, and we find ourselves clamoring to flee the castle.
History may have unfairly condemned Elizabeth Bathory. Popular culture across the centuries has held a fascination with gruesome and violent narratives, and history has often stigmatized powerful women. Michael Dalberg does not bring the countess justice. But he gives us a very good, thought-provoking and exciting show.

LISTING INFORMATION:
The Blood Countess
Idle Muse Theatre Company
Playing through October 11

By Michael Dalberg, Idle Muse Resident Playwright and Literary Director
Directed by Tristan Brandon

The Edge Off-Broadway Theater
1133 W. Catalpa Avenue
Chicago

PERFORMANCE SCHEDULE:
Thursdays, Fridays, and Saturdays at 8 pm; Sundays at 3 pm.
Added Wednesday performances on Oct 1 and Oct 8 at 8 pm.

Total running time is 2 hours and 30 minutes including the intermission.

General admission tickets, $30; students and seniors, $20.
For info visit www.idelmusetheatre.org or the Idle Muse Theatre Company Box Office: (773) 340-9438

oto see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click at “The Blood Countess”.                                   photos by Steve Townshend