Hot on the heels of a hit run of Mel Brooks’ The Producers, the Menier Chocolate Factory sticks to a comedic theme with the UK premiere of Dracula: A Comedy of Terrors, a truly hilarious reimagining of Bram Stoker’s iconic horror classic. This production, which originated off-Broadway, brings a fresh, queer twist to the timeless tale, infusing it with the campy charm of The Rocky Horror Picture Show and the comedic genius of Young Frankenstein.
The story follows Jonathan Harker, a timid English estate agent, as he ventures into the heart of Transylvania to meet his new client, Count Dracula. However, this is not the Dracula of legend; instead, we meet a Gen Z pansexual vampire grappling with an existential crisis. James Daly, reprising his role from the off-Broadway production, is mesmerising; bringing humour, charisma and oodles of sexual tension to the title character. Daly’s performance can’t be faulted, making Dracula a lovable, if somewhat narcissistic, anti-hero.
The cast, which includes Safeena Ladha as Lucy Westfeldt, Dianne Pilkington as Dr. Westfeldt, Charlie Stemp as Jonathan Harker, and Sebastien Torkia in multiple roles, is a testament to the versatility required in this fast-paced comedy.
Pilkington and Torkia are particularly funny while multi-rolling. The latter playing both Mina, the ‘ugly’ sister to Lucy and the somewhat stern Dr Jean Van Helsing. But it’s Diana Pilkington who has the audience in stitches transitioning between Dr. Westfield and one of his patients with frenetic energy.
Safeena Ladha gives it all as Lucy, and Charlie Stemp also demonstrates both his acting and comedy ability in this fantastic performance. Each actor seamlessly switches between characters, often with lightning-fast costume changes. The chemistry among the cast members is clear to see and it creates a cohesive and engaging ensemble that elevates the production to new heights.
Visually, the production is a treat. Tijana Bjelajac’s set design cleverly utilizes the intimate space of the Menier Chocolate Factory, while Tristan Raines’s costumes are a riot of colour and creativity. Ben Cracknell’s brash neon lighting and Victoria Deiorio’s songs – a kind of euro-rock – somehow work in this comedic period piece.
Gordon Greenberg directs, having written the show with Steve Rosen. This was originally an American production, but there have been lots of little tweaks to include British references. Yet, whether intentional or not, Dracula: A Comedy of Terrors already seems to have been quintessentially British, an almost perfect combination of farce and pantomime that we Brits adore so much, while impressively giving respective nods to the original material. Like all good panto there’s the odd joke that feels a bit too obvious, or a little out of place, but on the whole, they nail it.
Greenberg and Rosen’s script is clever and witty, never shying away from poking fun at the conventions of horror while still maintaining a deep affection for Stoker’s beloved character. This approach makes the show accessible to both fans of the original novel and newcomers alike.
The production’s themes of identity and self-discovery, particularly through the lens of Dracula’s existential crisis, add a layer of depth that elevates it beyond mere parody. It’s a bold statement about embracing one’s true self, wrapped in a package of campy humour and theatrical flair.
A bloody good laugh from start to finish, Dracula: A Comedy of Terrors combines laughter, creativity, and a dash of horror that is sure to sink its teeth into the hearts of London audiences.
