When I say “Dracula”, certain images come to mind… Possibly Gary Oldman with a heart-shaped head, or Christopher Lee with a bloody face, or the most terrifying – Klaus Kinski’s Nosferatu, looking like some sort of part man, part rat. It’s probably not the image of a beautiful blonde Nordic-looking man, with bulging muscles, wearing a frilly lace waistcoat! Yet this is exactly how he’s portrayed in Dracula: A Comedy of Terrors, just opened at the Menier Chocolate Factory, London, after a successful run in the States.
This Dracula is much more Eric Northman (True Blood) than Gary Oldman, as he drips with vanity and flamboyant sex appeal. Played by James Daly, his narcissism is only limited by one thing: he doesn’t have a reflection to admire! After meeting Jonathan Harker (Charlie Stemp), a ‘scared of his own shadow’ English estate agent, he falls instantly in lust with Jonathan’s fiancée, the fearless and lovely Lucy (Safeena Ladha), based solely on a photograph. The count buys six properties from Jonathan, including a dilapidated stately home in the village where Jonathan and his beautiful fiancée happen to live. Dracula arrives in the village… and hilarious antics ensue!
Written by Gordon Greenberg and Steve Rosen, and directed by Greenberg, Dracula: A Comedy of Terrors is outrageously funny. The jokes come thick and fast throughout the show – from the silly use of atomiser sprays to simulate fog, to several jaw-dropping quick changes by Dianne Pilkington (playing both Dr. Westfeldt and Renfield) that actually received mid-show applause due to the sheer impossibility of them. One of my favourite laugh-out-loud moments involved the awkward but oh-so-relatable moment of trying to get a cake plate back. The audience were clearly having a blast, with my companion almost falling off his seat at least twice.
Lucy’s sister Mina, played by Sebastien Torkia, was a comic standout. With her proud boast that “I’ve got all the recessive genes!”, Mina is desperately trying to snag… well… anyone. But alas, they’re all interested in her sister. Mina is both hilarious and disturbing in equal measure – Torkia delivers one of the most memorable performances of the night.
Torkia also plays another significant role, but telling you what it is would be a spoiler, so I won’t. Just know: it’s a fun surprise.
As Daly’s Dracula attempts to woo Lucy, he’s simultaneously very friendly with Jonathan. The show is gloriously fluid in its portrayal of sexuality – Dracula kisses and flirts with whomever he pleases, à la Frankenfurter in The Rocky Horror Picture Show. It’s cheeky, camp, and completely delightful.
The whole cast deserve huge praise. All but Daly play at least two characters, shifting accents, physicality and costumes with seemingly impossible ease, and every single one of them is hilarious and brilliant. Olivier Award nominee Charlie Stemp even treats us to a brief moment of tap dancing – although Jonathan’s companions are not impressed by this scene-stealing flourish.
The lighting design by Ben Cracknell plays a huge part in transforming the small Menier Chocolate Factory stage into multiple locations, all bursting with atmosphere. The set – cleverly conceived by set designer Tijana Bjelajac – is versatile, stylish, and full of surprises I won’t spoil. And special mention must go to costume designer Tristan Raines for the beautiful period costumes, which add an extra layer of richness and humour to the whole affair. Just trust me when I say: it’s impressive how much magic they pull off in such a compact space.
The show is silly. It’s fun. It knows exactly what it is and commits to the bit with gleeful abandon. There’s a clever ending I won’t spoil, and you should definitely go and see it if you’re in the mood for gloriously camp theatre and relentless laughs. That said, the play isn’t only nonsense and chaos. In a rare moment of wisdom, Dracula tells Jonathan: “Fear is temporary, regret is forever.” Ok, so he was trying to seduce him, but it’s a line that resonated with me.
Dracula: A Comedy of Terrors stakes its claim as one of the funniest shows in town. Grab some villagers and a few pitchforks and get yourself down to the Menier Chocolate Factory before the coffin is nailed shut on 3rd May.
Tickets from menierchocolatefactory.com
Words by Nick Barr
Photos by Matt Crockett
