Bram Stoker's 1897 novel Dracula has given rise to many adaptations on stage and in film, and they were not always as respectful and good to look at as this one by shake & stir theatre co.

The strength of this production is in the seriousness with which it approaches the story and in the visuals created by the combination of Josh McIntosh's dark revolving set and Jason Glenwright's precise and atmospheric lighting. Add to this unsettling sound and music by Guy Webster, and you are in for an intriguing evening of Gothic horror.

The adaptation is at its strongest when it stays with the language and style of the novel. The journal entries of Jonathan Harker (Michael Wahr) begin the story as he journeys to Transylvania to transact some real estate matters with the mysterious Count Dracula (Nick Skubij). Conveyancing soon palls, however, when he begins to discover the disquieting truth about the Count.

Back in England, Jonathan's fiancee Mina (Nelle Lee) anxiously awaits his return while her friend Lucy (Adele Querol) seems much more flighty in her affections, dumping likeable Dr Jack Seward (Ross Balbuziente) for another suitor.

The Count's arrival in England spreads the vampire plague to Lucy and eventually to Mina. Meanwhile, the arrival of vampire hunter Van Helsing (David Whitney) turns Jack, Mina and Jonathan into a rather more knowledgeable vampire-fighting team than previously. Eventually everyone heads back to Transylvania for the inevitable showdown.

Language and imagery and feeling are less strong in this show when they take on modernity. When the words and manner drift from the 19th century into the 21st, some of the magic drifts away with them. Mina and Lucy early in the piece feel a little too contemporary in the style of their clifftop chat. Skubij's Dracula is utterly disturbing in his earlier ancient long-haired version, but not so much when his growing strength turns him into a rather more modern leather-jacketed punk.

But the central revolve with its circular staircase creates ships and coaches and castles superbly and mad, fly-eating Renfield is glimpsed in his cell while the vampire women in Dracula's castle emerge wherever they want to. Dim lights, hooded figures, some fire and lots of smoke and fog make for a real ambience.

And the human characters, despite a slowness by some to understand the importance of garlic and crucifixes, are warmly done. Querol's Lucy slides powerfully into the unleashed sexuality of the vampire she becomes. Balbuziente's Jack is made of sterling stuff and Wahr as Jonathan convincingly fights his fears. Lee as Mina has a quiet and necessary authority. And Whitney makes a no-nonsense Van Helsing.

It's a shortish show with no interval, but towards the end it struggles a little to maintain the necessary grandeur. However, it is good to see Dracula done with some real presence and taken seriously. And designers of set and sound and lighting will rightly marvel.