Jerome Barnes and Genevieve Magua (picture Brenda Veldtman)
Naomi Meyer talks to Jerome Barnes about his role in Cape Town Ballet’s Dracula.
Hi Jerome, I'm excited to talk to you about your lead role in Cape Town Ballet's Dracula, soon on stage at the Artscape. Tell me a bit about your background.
I got into ballet because of my sports teacher at school in the UK, where I was a 200-metre sprinter. One day, she said to me, “It would be good for your training as a runner to stretch more; you have an elegant way of running, and maybe you should try ballet to limber up?" So, off I went to join a Saturday ballet class. At first, I was taken aback, not quite knowing how to approach this new movement form; but as it turned out (pardon the pun), I had a hidden talent!
Tell me about the first time you heard the story of Dracula. Did you find this an interesting story? Scary? Intriguing? Or what kind of emotions did you feel when you first heard, saw or read this story? Which of these emotions do you want to bring into your character?
I love the idea of how a beast like Dracula can relate to the human world and have an emotional spectrum of sensitivity – this is evident in that he is unable to attack Mina (the female lead role). To watch the ballet is to see the contrast between the beast nature and human-like feelings, and the way David Nixon (the choreographer and director) has showcased this through physical and sensual movement is thrilling.
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I love the idea of how a beast like Dracula can relate to the human world and have an emotional spectrum of sensitivity – this is evident in that he is unable to attack Mina (the female lead role).
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Everyone has an idea or a picture of Dracula. It must be one of the most well-known stories. I actually googled whether the story of Dracula is based on a real person or inspired by true events. How do you feel now, as an adult, playing this character? What are the challenges and what is the best part of playing Count Dracula? Also, from a dancer's perspective: What do you need to do when you get into character, to still perform as a dancer?
The real challenge playing Dracula is to show his nuanced identity – a bat-like creature that I find very intriguing – and the choreography allows this element to come to the fore visually. It is expressed in Dracula's solos and in the moments with the Harker character; and then he switches into beast vampire mode, hunting and feeding when possessed by bloodlust. He almost gets a little out of control, and then finally you see his softer, human-like form, which is still cold but has glimpses of warmth and the hope that this might be his transformation.
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The real challenge playing Dracula is to show his nuanced identity – a bat-like creature that I find very intriguing – and the choreography allows this element to come to the fore visually. It is expressed in Dracula's solos and in the moments with the Harker character; and then he switches into beast vampire mode, hunting and feeding when possessed by bloodlust. He almost gets a little out of control, and then finally you see his softer, human-like form, which is still cold but has glimpses of warmth and the hope that this might be his transformation.
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To get into this role as a dancer, I really have to take my head and body into the world of Dracula and make myself believe in him. This is why the rehearsal process is so crucial, as it takes a couple of weeks to find that depth. I merge with the character slowly but surely, and at times I catch myself feeling a slight emotional imbalance, because I’m diving so deep and adding layers to the character, as we build up to opening night on 13 March. Add to that the stunning costumes and props and the powerful orchestration, and you've got a really stunning, visceral production. I also love his big, black cape, which makes me feel wild yet grounded at the same time, thanks to the weight of the fabric.
Dracula is a celebrity, but he has a difficult time on earth – all the centuries on earth. And yet, he can never feel the sun on his face. Do you think you can identify with certain aspects of his nature, as a human?
I can relate to the feeling of not having the sun on my face, since I live in the UK! The cold has a cooling aura, while the sun feeds warmth and expression. Dracula knows only darkness, so that is something hard to relate to from personal experience, of course; but that is where acting comes into play, to convince the audience and keep them absorbed in the story.
Why would you advise everyone to come and see Dracula this autumn?
People should come and watch this exciting ballet noir – it's new, different, gripping! Such high energy, physicality and sensuality in the dancing – totally transporting! Audiences will be intrigued by the use of the double stage at the theatre, which has enabled the use of huge sets, including an impressive castle. Costumes are glorious, a nod to the elegant Victorian era. Dracula is a classy tragi-drama, and the music resonates with excerpts from the likes of Rachmaninoff and other composers. As to the dance style, expect classical and neoclassical, making it all the more relatable and interesting.
- From 13 – 29 March 2026. Buy tickets here.