There have been countless adaptations of Bram Stoker's classic novel, but Gordon Greenberg and Steve Rosen's Dracula: A Comedy of Terrors serves up fresh and funny blood to the familiar tale. This show at Allen Contemporary Theatre, directed by Byron Holder, leans heavily into its comedic premise with a ridiculous and hilarious take on the classic gothic horror story. For those who prefer kooky over creepy for Halloween, ACT has it covered.
The five-member cast enthusiastically embraced the show's inherently silly nature, with most actors successfully tackling multiple roles. The production thrived on an over-the-top approach, and the actors' impressive commitment fueled the constant on-stage chaos.
Benjamin McElroy has mastered frenetic energy. He imbued his Jonathan Harker with a jittery humor and his transformation into a more colorful character saw him elevate the role to new heights. Isabella Grace Wilson, as Harker's fiancée Lucy, provided the show's most sensible presence while still matching her castmates' energy.
Katie O'Brien initially portrayed the man-hungry Mina, but truly shined as Dr. Van Helsing, a performance best described as "horny empowerment" -- good stuff. Walt Threlkeld executed a dual role, effortlessly shifting between the bug-hungry Renfeld and Lucy and Mina's protective father with rapid-fire wit and quick costume changes. His performance's necessary quickness was executed with ease.
As the titular character, Brett Lee had a lot on his shoulders - albeit very muscular ones. Lee had the task of maintaining a Transylvanian accent, a sexy bro vibe and a regal gothic vampire with a corny side. At the bottom of all that, he also had to nail the comic side of his role. Lee was able to deliver a funny, hot Dracula. At times, the characteristics may have given way to others, but Lee understood the bumbling essence of the show that served up proper main character energy. HIs long-haired wig though was unnecessary and distracting as he had to fumble with it often.
The technical aspects of the production served the show's tone well. One set served as the entire backdrop but Holder's design worked for a gloomy, dark vibe. The detailed costuming was knockout work by Kristin Moore. Alaric Erhard's lighting and Geoffrey Dail's sound design added texture to the show giving it the creepy feeling while the actors served up the laughs.
Dracula: A Comedy of Terrors doesn't take itself too seriously, and its commitment to its comedic vision was in the fine hands of Holder's direction. The show doesn't jump scare for Halloween thrills, but it definitely set a mood