Dracula Returns to Derby - 101 years and Counting

Over recent years Derby has done a great job of celebrating its ties with Bram Stokers most famous novel ‘Dracula’ whenever possible. Much fanfare has been made about the stage premiere of Dracula at Derby Hippodrome in 1924 in recent years. And why not? Every ounce of culture and history should be celebrated however and whenever possible.
And so Pickford’s House Museums new exhibition ‘Dracula Returns to Derby - 101 years and Counting’ continues this theme of embracing Derbys dramatic gothic past.
The exhibition due to last until May 2026, consists of 3 rooms examining different aspects of the Dracula legacy.

I decided to pay the exhibition a visit on its first day of opening. My motives must have been quite clear when I arrived at Pickford's House as a staff member looked me up and down and after a quick glimpse of my Devilish Presley 'I Created a Monster' tshirt and inverted cross she quickly said 'Here for Dracula? Upstairs.'. I must be becoming a stereotype in my old age.

So up I go, past the history of a home to the realm of paper bats flurrying around the ceiling lights as if seeking some tasty insect morsels, flickering candles and the promising greeting of s vast linocut of Bela Lugosi.

The first room delves into the world of 1920s theatre culture, of Hamilton Deanes stage adaptation of Dracula, which was the first ever authorised adaptation of Dracula. Its world premiere at Derbys Grand Theatre exposed the story to high society and a whole new world for the first time.
Hints of Pickford houses former life as museum of costume can be seen as sequinned flapper dresses sit alongside old theatrical posters and items such as Hamilton Deane's cane.

Cabinets are filled with items such as correspondence and documents of Bram Stoker, Bela Lugosi's signature and a photo of his time treading the boards as the Count at Derby Hippodrome in 1951. A reprisal of his 1931 cinematic role that was the breakthrough of his career.
Different Dracula related publications are an interesting sight to see, my favourite of course features the face of my favourite Dracula; Christopher Lee. 

This familiar face who played Dracula numerous times over a 22 year period transitioned nicely into the next room of the exhibition, and my personal favourite. Dracula on the big screen, specifically Hammer Horrors adaptations of the novel fill this space.

With a timeline of Hammer adaptations through from (The Horror of) Dracula (1958) right through to The Legend of the Seven Golden Vampires (1974) and a brief blurb about the history of Hammers Dracula for those less familiar with the absolute cinematic classics.
I was incredibly thrilled to see so many pieces of Hammer history on display in this small room. Original posters and promotional material, which is both tragically rare and depressingly expensive to acquire, meaning it has been pushed to the realms of museum pieces.
The AD1972 poster I happily decide I’d sell body parts to own. But with decidedly few organs to spare I resigned myself to just enjoying it in the moment, surrounded by various equally rich horror imagery from the Hammer archives, some set photographs, others foreign versions of posters. Its always great to see the artwork (and title) variations of international releases. And despite owning the book 'Art of Hammer' which features many poster variations there are still some on display which are new to my eyes. The piece de resistance, stood surrounded by scripts was the actual cape worn by Sir Christopher Carandini Lee in the Hammer productions of Dracula. An artefact alone worthy of visiting the exhibition for.

Id be lying if I said I didn't have an overwhelming urge to kneel down and worship this brooding great black cape, but I resisted the temptation, reluctant to look like a lunatic. But that is exactly the sort of reverence it awoke in me, quite unexpected but wholly honest. I imagine its how a christian may feel facing the Shroud of Turin. Sheer awe.

In that moment the simple but iconic piece of costume represented so much. My favourite actor of all time; Christopher Lee, all his movies, Hammer as a franchise, 50's, 60's and 70's Horror (which for me is the pinnacle of my favourite genre), of the dark, macabre and gothic. So many of the things which have shaped me since I was just a teenager and made me who I am today.
I found it hard to walk away from the cape and its great presence, but eventually managed it (though I confess to returning twice more for another glimpse before leaving the museum.)

In the third room waited something really rather different to the previous cases rich with Dracula history. In a way, the result of that history, a natural way for Dracula to progress into todays society and culture. 

Local sculptor Liam Brandon Murray's work is the focus of the final room. Murray creates, by his own definition 'wearable art'. These huge pieces are almost a 3D collage of all things considered 'gothic' in todays conception of the word. The huge ballgowns covered in skulls, gargoyles and religious iconography wouldn't look out of place in a steam punk masked ball.
Excess and extravagance exudes from every fibre of these outlandish creations. Initially one would think it impossible to physically wear these gowns, yet the video in a loop 'Brides of Dracula' proves this incorrect, however their practicality is clearly outweighed by their insane aesthetic. 

As well as clothing there is a large monochromatic throne, a doctors bag (which having just read the Stephen King novel 'Gerald's Game' conjured up some of its stranger scenes) and what I couldn't help but refer to as 'the disco coffin'. A life size coffin sculpture which pulsed with coloured light and stained glass in a strangely hypnotic way. 

This room of the exhibition and the pieces on display there essentially reflect an entire subculture which was spawned by Victorian gothic fiction and today forms the modern idea of 'goth'. Almost a cult, all be it one with many faces and personalities, and in more recent decades often a little more style over substance. And yet this exhibition gets back to the roots of gothic, to its literature, poetry, drama, mystery, with a dash of flamboyance. It spans the style and the substance behind the cult of Dracula.

Its always nice to end an exhibition with a little inspiration. And the selection of Dracula themed origami was exactly that. Never in my life had I considered making an origami bat, but I left Pickford's House Museum feeling it was now absolutely essential to my existence.

To plan your visit to the exhibition click here!

Alice Meille-Durose