Review: Dracula: A Comedy of Terrors, Menier Chocolate Factory

From the moment you enter the Menier Chocolate Factory Theatre you’re plunged into a pulsating neon-drenched world where euro-pop meets gothic horror. A red neon sign bearing the show’s title looms above a stage framed by bat-wing-shaped neon strips, their light slightly pulsing like blood through veins. Dracula: A Comedy of Terrors wastes no time in grabbing your attention, setting the stage for a 90-minute rollercoaster of comedic chaos.

Staying true to the essence of Bram Stoker’s tale, Steve Rosen and Gordon Greenberg’s adaptation infuses the classic vampire narrative with a modern comedic lens. Messages of gender equality are woven throughout, notably through Safeena Ladha’s strong portrayal of Lucy, who emerges as a central protagonist rather than a mere damsel. Charlie Stemp’s Jonathan Harker plays brilliantly against Ladha, his vampiric transformation a masterfully observed evolution, echoing traits of Dracula himself.

James Daly’s Dracula is mesmeric, much like the mythical role itself. His personification of Dracula is like a camp rock star or supermodel, who commands the stage. Having originated the role in the Off-Broadway production, Daly delivers a performance brimming with confidence, breaking the fourth wall with perfectly timed looks and exaggerated athleticism that draw laughter. His character boldly explores the queerness hinted at in Stoker’s original, adding a contemporary layer to the iconic vampire. The ensemble cast shines, each member displaying impressive versatility in multiple roles. Dianne Pilkington’s seamless and hilarious transformation from the mentally troubled Renfield to Dr Westfield is a particular highlight, eliciting uproarious laughter from the audience. Sebastien Torkia deserves special mention for his exceptional versatility and comedic timing. His portrayal of Van Helsing, and particularly his uproarious turn as Mina, injected a healthy dose of bawdiness and campness into the production. Torkia’s delivery of some of the show’s rudest jokes was delivered with great aplomb and enthusiasm, contributing significantly to the show’s overall comedic impact.

The production’s energy is infectious, with the cast clearly relishing every moment. Gordon Greenberg’s direction maintains a brisk pace, ensuring the comedic timing is sharp and the narrative engaging. Tristan Raines’ set design cleverly utilises the full space, incorporating miniature set pieces along the stage’s periphery. However, from certain vantage points these intricate details were partially obscured, leading to a sense of missing out on some of the visual storytelling. Ben Cracknell’s lighting design and Yvonne Gilbert’s sound design effectively enhance the show’s atmosphere, and Betty Marini’s wigs and makeup design were key to the multiple character changes, which were achieved seamlessly. At other times, they were used for comic effect.

This show’s success in retelling a well-known story in a very modern and comedic way brings to mind Operation Mincemeat, which has seen great success both off-West End and on Broadway. One difference is that Operation Mincemeat is a musical. With the inclusion of Stempin the cast, known for his iconic and Olivier Award winning role in Half a Sixpence, I felt there was a sense of anticipation for potential musical numbers. While the show remained firmly rooted in theatrical comedy Stemp’s subtle nod to his dance prowess provided a delightful, albeit brief, moment of surprise.

Despite the undeniable energy and creative flair, the overall experience left me wanting more, particularly given the Menier Chocolate Factory’s well-known reputation for outstanding theatre. The show delivers a solid evening of entertainment, filled with moments of genuine hilarity and impressive performances. While the show delivered consistently brilliant moments of entertainment and humour, it lacked the innovative spark or lasting impact one might anticipate from such a renowned venue. It’s worth noting the venue is currently undergoing renovations, with temporary toilet facilities located outside. Given this is a 90-minute show without an interval, you may wish to plan accordingly.

Dracula: A Comedy of Terrors is an entertaining and vibrant twist on a classic tale, offering a night of laughter and unexpected perspectives. It is a solid comedic take on Dracula and a fun evening out.

Written by: Steve Rosen and Gordon Greenberg
Directed by: Gordon Greenberg
Set Design: Tristan Raines
Sound Design: Yvonne Gilbert
Lighting Design: Ben Cracknell
Hair, Wigs, and Makeup Design: Betty Marini

Dracula: A Comedy of Terrors plays at the Menier Chocolate Factory until Saturday 3 May.