DRACULA, A COMEDY OF TERRORS Takes a Bite out of London

Fancy a trip to Transylvania that includes fangs, existential crises, and a healthy dose of cheeky humour? The Menier Chocolate Factory is gearing up for the UK premiere of DRACULA, A COMEDY OF TERRORS, a new adaptation of Bram Stoker’s classic horror tale. Penned by Gordon Greenberg and Steve Rosen, this 90-minute romp promises a bloodthirsty blend of comedy and the supernatural—a perfect mix for anyone looking to get their heart pumping while having a good laugh. With previews set to begin on 8 March 2025 and an official opening night on 17 March, this production will run until 3 May, giving theatre-goers two whole months to sink their teeth into the show.

A BOLD NEW SPIN ON THE VAMPIRE CLASSIC

There’s something inherently fascinating about Dracula—Bram Stoker’s aristocratic vampire has haunted our imaginations for over a century, reinventing himself time and again in books, films, and stage adaptations. But DRACULA, A COMEDY OF TERRORS takes that timeless legend and shakes it up like a sparkling cocktail. Instead of focusing purely on gothic horror, the show injects a strong dose of wit and farce, turning Count Dracula into a narcissistic anti-hero wrestling with an identity crisis. If you’re picturing a menacing figure skulking through dark corridors, you might need to adjust your expectations—this Count is just as likely to crack a one-liner as he is to bare his fangs.

According to director Gordon Greenberg, who returns to the Menier Chocolate Factory after his previous successes with THE BAKER’S WIFE and BARNUM, the goal is to fuse comedy and terror in a way that keeps audiences simultaneously on edge and laughing out loud. Those who have followed his career will know that Greenberg excels at breathing fresh life into well-known tales. His presence alone is a strong indication that DRACULA, A COMEDY OF TERRORS aims to be more than just another retelling: it’s out to surprise, delight, and—perhaps most importantly—entertain.

MEET THE CREATIVE TEAM

When it comes to staging a production like DRACULA, A COMEDY OF TERRORS, every aspect of the creative process is vital to ensuring a cohesive and enthralling show. Greenberg co-wrote the piece with Steve Rosen, whose comedic chops promise to elevate the script into laugh-out-loud territory.

In the designer’s corner, Tijana Bjelajac is taking on the challenge of creating a set that can smoothly transition from eerie castle walls to comedic chase scenes in an instant. Her previous work often combines a striking visual flair with functionality—ideal for a production that must accommodate rapid costume changes and switch-ups in character. Tristan Raines brings a keen eye for costume design, aiming to highlight the larger-than-life personalities of characters like Dracula, Jonathan Harker, and Lucy Westfeldt while keeping in mind the show’s comedic tone. Meanwhile, Ben Cracknell’s lighting and Yvonne Gilbert’s sound design will work in tandem to keep the atmosphere spooky-yet-playful. The result should be a theatre space brimming with vampiric intrigue and offbeat humour.

SINKING THEIR TEETH INTO THE ROLES

Although DRACULA, A COMEDY OF TERRORS fields a cast of only five performers, each actor is tasked with juggling multiple characters, often flitting from one persona to another at breakneck speed. At the centre is James Daly, reprising the role of Dracula. Daly’s portrayal is said to lean into the character’s vanity and insecurities—this Count isn’t merely sinister, but also grappling with his place in the universe. For those wanting to see a vampire lord with more than just a thirst for blood, it’s an intriguing take.

Safeena Ladha steps in as Lucy Westfeldt, while Dianne Pilkington (well known for her performances in shows like WICKED and MRS HENDERSON PRESENTS) stars as Dr Westfeldt. Lucy and Dr Westfeldt both become entangled in the Count’s world, each bringing their own comedic flair and backstory to the narrative. And then there’s Charlie Stemp, a WhatsOnStage Award winner fresh from productions like HALF A SIXPENCE and MARY POPPINS, who will charm audiences as the timid Jonathan Harker. If his past performances are any indication, we can expect plenty of physical comedy and a winning stage presence as he battles vampires and existential dread alike. Further casting is still to be announced, leaving ample room for speculation as to who might round out this devilishly funny ensemble.

AN UNEXPECTED TWIST ON TERROR

While horror-comedies aren’t new to theatre—think of cult hits like THE ROCKY HORROR SHOW—this version of Stoker’s novel aims to stand out by condensing the story into a tight 90-minute experience. That means no lengthy drawn-out scenes, but a rapid-fire approach where one moment you’re gasping at the sight of Dracula’s pointed teeth, and the next you’re in stitches over a tongue-in-cheek monologue. Greenberg and Rosen are particularly keen on breaking genre rules, suggesting that audience members will be treated to elements of melodrama, satire, and classic farce, often within the same scene.

Shows that manage to strike the right balance between horror and humour can often become sleeper hits. For instance, the film and stage versions of LITTLE SHOP OF HORRORS (featuring a man-eating plant) have enjoyed enduring popularity precisely because they lean into the absurd alongside the gruesome. DRACULA, A COMEDY OF TERRORS may well follow in those footsteps—anyone who enjoys a good scare, but also loves to laugh, should mark the date in their diary.

THE MENIER CHOCOLATE FACTORY: A GYM FOR NEW IDEAS

Those familiar with London theatre will already know that the Menier Chocolate Factory occupies a special niche: it’s known for intimate productions that often transfer to bigger venues, or at least generate enough buzz to rival West End shows. From revivals of vintage musicals to new comedic plays, the Menier has a reputation for fostering exciting, original theatre. Shows like FULLY COMMITTED and FUNNY GIRL thrived in this compact space, proving that the building’s close quarters can add an intensity and immediacy to any production. DRACULA, A COMEDY OF TERRORS seems poised to capitalise on that vibe, drawing the audience right into Dracula’s crypt—or existential meltdown, as the case may be.

WOULD IT WORK IN AUSTRALIA?

While the show is set to open in London, it’s worth pondering whether a comedic spin on DRACULA would find success Down Under. Historically, Australian audiences have embraced everything from the comedic vampire flick WHAT WE DO IN THE SHADOWS (originally a Kiwi creation) to the immersive DRACULA’S cabaret-restaurant in Queensland. Australians have a healthy appetite for humour laced with the macabre, especially if it’s delivered with a self-aware twist.

Moreover, theatre in Australia has seen an uptick in experimental and cross-genre pieces, particularly in cities like Melbourne and Sydney where fringe festivals routinely host offbeat shows that blend comedy, horror, and even cabaret. The key to success would likely lie in retaining the show’s zany tone while ensuring any local production is tailored for Australian audiences—potentially throwing in references or comedic beats that resonate with Aussie culture. All in all, there’s reason to believe that a production of DRACULA, A COMEDY OF TERRORS could sink its fangs into Australian audiences just as effectively as it might in London.

In the end, DRACULA, A COMEDY OF TERRORS promises an enticing cocktail of humour and horror, helmed by a director-writer duo who appear unafraid to poke fun at a legend that’s often treated with sombre respect. If the cast can juggle quick costume changes, comedic timing, and the inherent creepiness of Stoker’s story, audiences stand to enjoy a production that’s both devilishly clever and thoroughly fresh.

In a theatre landscape brimming with revivals and adaptations, it’s refreshing to see creative teams push established tales into new territory. This version of Dracula won’t just be about cloaks and crucifixes—it’s about confronting the Count’s own insecurities, all while making the audience roar with laughter. If you’re looking to chase away the gloom of early spring next year, consider grabbing a ticket to DRACULA, A COMEDY OF TERRORS. After all, why settle for a mere horror show when you can have a comedic thrill ride that leaves you smiling from ear to ear (vampire fangs optional)?