[1] It then premiered on Broadway in 2004, starring Tom Hewitt as the vampire Count and Melissa Errico as the woman he loves, Mina Harker.

A brief nude scene in which Dracula seduces Lucy Westenra (played by Kelli O'Hara) received much publicity,[2] as did the show's numerous special effects.

[4] Jonathan Harker, a young lawyer from England, travels to Transylvania to fix a deal with the elderly Count Dracula, who wants to buy a home in London (Prologue).

Dracula responds that he knows Harker and that other contacts have been made in advance to ensure his arrival in England is well received.

Dracula advances towards his guest's bleeding throat but retreats once he catches a glimpse of a crucifix around Harker's neck.

Harker's stay in the castle slowly begins turning into a nightmare, and he frantically searches for a way out ("Jonathan's Bedroom").

Back in London, Dracula contacts his servant Renfield, who is incarcerated in the insane asylum of Dr. Jack Seward and promises him eternal life in exchange for his services.

Renfield envisions Dracula's approach to Whitby Bay via the ship Demeter, and sees the Count kill the captain and the crew ("The Master's Song").

All three suitors come to dinner at her house that night: Quincey Morris, the "brave" cowboy from Texas; Dr. Jack Seward, the "bright" owner of the mental institution in Purfleet; and Arthur Holmwood, Lucy's "boring" childhood sweetheart.

Stirred by emotions he has not felt in centuries, Dracula follows Mina to the train station and, from afar, voices his desire to be with her.

Van Helsing seeks to prove to Holmwood, Morris, and Dr. Seward, who remain skeptical, that the culprit is none other than the undead Lucy Westenra.

Lucy then enters the tomb, with a small child she intended to feed on, and is confronted by the vampire hunters ("Undead One, Surrender").

The group forces her into her coffin with religious chanting, and Holmwood tearfully drives a stake through her heart, while Van Helsing decapitates her.

While Harker shows the men to the door, Mina can't help but feel a growing need to save Dracula from destruction.

The two share a moment of passion before Dracula cuts open his chest and lets Mina taste his blood, intending to turn her into a vampire ("The Seduction (There's Always A Tomorrow")).

Dracula, back at his castle, reflects on his eternal life and realizes he has fallen deeply in love with Mina ("The Longer I Live").

Van Helsing leaves Mina in a protective circle of holy water to help Holmwood, Harker, and Dr. Seward fight Dracula's Brides.

Knowing that her only salvation is his demise, Dracula asks Mina to release him from his doomed existence with a Bowie knife he took from Morris.

(* new songs added to the show in revised version) Wildhorn musicals usually endured critical derision,[13][14] and Dracula would prove to be no exception.

Reviews were universally negative, referring to the lyrics as unoriginal,[15] and to the music as monotonous and derivative of both Andrew Lloyd Webber and Wildhorn's previous productions.

[16] Though this production was intended as a serious, dramatic interpretation of the source material, critics complained of a complete lack of emotion in general, and of suspense and horror in particular.

[17] Also, while the plot of the musical hits all the major points of Stoker's novel, critics felt it did so in such an obtuse way that audience members unfamiliar with the story may find themselves unable to comprehend the action.