Step inside Confessions of a Lunatic, a fresh reimagining of Dracula that boldly transports the story to 1893 Scotland. The action opens in a Dundee sanatorium where Renfield, still haunted by the spirit of Dracula, is under the watchful eye of Dr John Stewart. The stakes rise when Dracula’s gaze turns towards Lucy Westenra, setting off a dark, twisting Diary of a Madman that’s as unsettling as it is engrossing.

Right from the off, the cast command attention with well-defined, layered performances. Special kudos go to Arzaneira Deepsri as the female Dracula — a haunting presence who weaves seamlessly between shadowy flashbacks and the eerie present, embodying menace with subtlety and style. Lewis Mullan’s Renfield is also great as a manic yet vulnerable, tortured yet magnetic. Their chemistry and individual performances elevate the show far beyond the usual gothic clichés.

Director Ian Dunn steers this Demeter ship with precision. His crisp, deliberate pacing makes excellent use of the full width of the stage without ever feeling sprawling or indulgent. Every movement, every pause, serves the story, and the production’s atmosphere feels taut rather than ravenous.

The technical elements—lighting and sound designed by Cloe McCleave and Alex Hunter—deserve a mention in their own right. The use of rich reds and shadows punctuates key moments without overwhelming, while the music hits just the right note, setting a mood that is atmospheric, immersive, and perfectly pitched.

Crucially, this isn’t your hammy Hammer horror. There’s none of the over-the-top vampire lore or cliched theatrics. Instead, Confessions of a Lunatic offers a mature, pitch-perfect piece of theatre that honours the gothic tradition while breathing new life and emotional depth into it.

If you’re hunting for a Fringe show that delivers chills without tired tropes, this one is for you. Ideal for an afternoon escape, it’s a sophisticated, compelling dive into madness, obsession, and the shadowy corners of the human psyche.