History and mythology came together in Blood/Lust, giving audiences a different perspective of the life of a vampire.

The production, an original script written and directed by Lesa Lockford, was shown in the Kleinau Theater Feb. 29-Mar. 2.

Lockford has produced a script that examines Erzebet Bathory, a 16th century Hungarian countess. Bathory was infamous for her bisexuality and crossdressing. She was put on trial in 1611 for the alleged murder of 650 women, and she was placed under house arrest until she died.

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Lockford has brought the story into modern times. Bathory is a power-broker imprisoned in her home while waiting for the result of her trial.

The show is a narrative tale that develops through a conversation between Bathory (Tracy Taylor) and Christal Bell (Tara H. A. Varilek), an orphan living with Bathory.

Each scene is a kind of dream sequence of Bathory’s past beginning in the 18th century and progressing to the present.

The play does not pretend to be an in-your-face show about lesbianism. It is an honest look at a historic character who emerged as a controversial and legendary figure in vampire lore. It examines the struggles she faced as a person far from the social norm.

Blood/Lust is open and honest. The vampire is not a hero, but neither is she the villain history made her out to be. Underneath the thick skin is a person, a person who loves and feels but is so overcome by her desire for revenge she destroys everyone she loves.

Taylor has created a character who is powerful yet balanced by an internal struggle that evokes a combination of sympathy and disgust. The struggle is so intense that it is easy to feel sorry for her plight, but her evil nature is so overshadowing that it is difficult.

In one scene, post-modern Bathory transforms housewife Lucy Harker (Nina Garza) into a menacing vampire like herself. Harker is a woman who is frustrated with her existence and wants more out of life. The sexual revolution of the 1970s has left her hoping for more than what her husband is able or willing to give.

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Garza does a tremendous job in bringing this sexually frustrated character to life. The transformation of the sweet innocence of a housewife to the dark nature that is her true self is real and honest.

Another outstanding performance was given by Kari Ball, who played Catherine Nadasdy. Nadasdy was the daughter of a wealthy 19th century nobleman who was in love with Bathory. She desperately wanted to escape a fate of being betrothed to a land owner and having to deny the fact that she is a lesbian and a vampire.

Ball’s performance was intense and compelling. She reminded one of the delirious vampires in Bram Stoker’s Dracula. Her sinister laugh was chilling, and her motions and mannerisms created a character of darkness and greed.

Every time there was a good moment on stage, there was a scene change. The scene changes were far too long and distracting. The play was structured to illustrate different parts of Bathory’s life, and every time there was a different story, there was a different scene. The result was a play with many small plays within it.

The scene changes kept the audience in the dark for a great period of time. Scene changes should take no more than 10-15 seconds; these took almost 30-40 seconds at times.

The only resolution came at the end of the play. The characters in each scene were interesting, but they lacked development because of a script that was vague and tried to do too much in a short period of time.

Blood/Lust took on some controversial issues but did so in a polite manner. It easily could have been very explicit smut. The show simply focused on a character and tried to bring together the myths, truths and lore surrounding her.