If you go into Dracula: A Comedy of Terrors expecting a faithful retelling of Bram Stoker’s gothic horror classic, think again. This is a 90-minute, gender-bending theatrical farce that throws subtlety out the window in favour of camp, physical comedy, rapid-fire wordplay and plenty of outrageous moments. And that’s where its charm lies.
What I loved most about the Arts Club Theatre Company’s production at Granville Island Stage was its unapologetic campiness. The production challenges some of the traditional gender roles embedded in the original story, turning expectations on their head while having a lot of fun along the way. First, Dracula has been reimagined as a dominatrix, played by a woman but referred to as “he” throughout. Synthia Yusuf is magnetic in the deliciously unconventional role, combining feminine masculinity with a hint of danger and brazen sex appeal.
With five actors playing sixteen characters, the production moves at a frenetic pace. Outside of Yusuf’s signature role as Dracula, the other four actors switch between multiple characters, with rapid costume changes, shifting accents and plenty of physical comedy. Stephanie Davis is particularly entertaining as both Dr. Westfeldt and Renfield, with an additional turn as the sea captain thrown in for good measure. Her comedic timing and physicality bring terrific energy to each role. Even the smallest details, from Westfeldt’s hand on a mannequin’s bottom to Renfield’s swiftly swallowed spider, are artfully deployed. Curious? See the play!
Kate Besworth, always a joy to watch, gives us a Lucy who is a far cry from the innocent young woman of the original. This is a more independent, lusty virgin, and it’s easy to see why Dracula is so captivated.
Jeff Meadows, who stands well over six feet tall, is equally hilarious as Nina, Lucy’s awkward sister who, by her own admission, inherited all the recessive genes. He also plays the formidable Dr. Van Helsing, who in this version is a woman rather than a man, and a strong foil for Dr. Westfeldt. Might there be romance in the air?
One of the funniest scenes comes after Lucy’s fiancé, Harker (played by Vincent Tong), is bitten by the fledgling vampire Nina. His meek, danger-fearing persona disappears, replaced by a leather-clad, nipple-baring biker (think Village People) with an insatiable appetite for lust. Lucy, it turns out, rather likes this new version of her intended!
The set is simple but effective. Arched windows and doorways transform from Dracula’s castle to the Westfeldt home, with clever lighting and shadows creating the gothic atmosphere. Throughout the performance, puppets and mannequins make occasional appearances when the show needs extra bodies, adding another layer of theatrical mischief.
Then come the unexpected dance breaks. The show is peppered with perfectly timed moments, including a spectacular tribute finale.
Written by Gordon Greenberg and Steve Rosen and directed by Josh Epstein, Dracula: A Comedy of Terrors takes the familiar gothic tale and turns it into something wonderfully ridiculous. Beneath all the camp and chaos, there’s also a clever reimagining of who gets to be powerful, vulnerable, dangerous or desirable. But don’t let that suggest this is a serious theatrical exercise. It’s first and foremost a whole lot of fun.
If you’re looking for a night of theatre that doesn’t take itself too seriously, this Dracula has plenty of bite.
Dracula: A Comedy of Terrors runs from Oct 22 to November 15 at Granville Island’s Lindsay Family stage.