Review: DRACULA, A COMEDY OF TERRORS, Menier Chocolate Factory
Photo credit: Matt Crockett
Gordon Greenberg and Steve Rosen’s Dracula: A Comedy of Terrors is a riotous spoof that breathes new life into the classic vampire tale. The story follows the recently engaged couple, Jonathan Harker (Charlie Stemp) and Lucy (Safeena Ladha), as their lives become entangled with the dangerously seductive and enigmatic Count Dracula (James Daly). What ensues is a whirlwind of madcap antics, relentless humour, and theatrical absurdity, making for an utterly delightful experience.
With a cast of just five: Charlie Stemp, James Daly, Safeena Ladha, Dianne Pilkington, and Sebastien Torkia, the production thrives on versatility and impeccable comedic timing. Except for Daly, each performer takes on multiple roles, seamlessly switching between characters with remarkable skill. The ensemble is nothing short of outstanding.
Stemp is charming as the buttoned-up Jonathan Harker, portraying his frigid demeanour with delightful awkwardness. His comedic prowess shines as he juggles multiple characters, and audiences are even treated to a brief but dazzling display of his famed tap-dancing skills. Ladha brings warmth and wit to Lucy, hilariously navigating the character’s struggle to resist Dracula’s undeniable allure.
Pilkington is a comedic force, gleefully poking fun at herself and her characters with lightning-fast costume changes that reach peak absurdity in the show’s latter half, when at one point, she merely removes and replaces facial props mid-scene, to uproarious effect. Torkia is equally spectacular, particularly in his portrayal of the sexually frustrated, unwanted sister and the eccentric vampire hunter, Doctor Jean Van Helsing. His uninhibited commitment to the role, especially in delivering risqué innuendos, makes for many laugh-out-loud moments.
However, James Daly steals each scene as Count Dracula. From the moment he struts onto the stage in a skimpy ensemble, he commands attention with an intoxicating mix of danger, mystery, and sheer magnetism. Sometimes shirtless and always exuding effortless sensuality, Daly balances sultry charm with self-aware humour, turning Dracula into both a smouldering heartthrob and a delightful parody of himself.
This production revels in its own absurdity. A slapstick genre-mocking extravaganza, it never takes itself seriously, and neither should the audience. The script is laced with contemporary references, playful gender subversions, and character-swapping chaos, all of which add to its infectious energy. The cast’s visible enjoyment is palpable, and their comedic camaraderie is a joy to watch.
Upbeat contemporary pop tunes punctuate key moments and complement the humour wonderfully. Though the set remains largely unchanged, this works in the show’s favour, allowing the focus to remain on the cast’s dynamic performances.
While the show embraces camp, farce, and innuendo, there’s a sense that it occasionally holds back. Daly’s Dracula could push his sultry, tongue-in-cheek seduction even further, amplifying both the comedy and the mockery of classic vampire tropes. A bolder commitment to heightening the flirtations and suggestive humour could take the production from hilarious to downright hysterical.
Beneath the humour, Dracula: A Comedy of Terrors also explores an unexpectedly thoughtful theme, the debate between immortality and the joys of a fleeting human life. Love, mortality, and what truly matters in the grand scheme of existence are woven into the play’s fabric, adding a surprising layer of depth, that is revealed at the end.
Gloriously ridiculous and utterly entertaining. An evening of absurd theatrical delight!
**** Four stars
Reviewed by: Alexandra Tullah
