Dracula, A Comedy of Terrors (Menier Chocolate Factory, London) - ★★★ REVIEW

Podcast Summary: MickeyJoTheatre – Dracula, A Comedy of Terrors (Menier Chocolate Factory, London) - ★★★ REVIEW

Introduction

In this episode of MickeyJoTheatre, host Mickey-Jo delves into his review of the latest theatrical production, Dracula, A Comedy of Terrors. Streaming from the Menier Chocolate Factory in London, this off-West End rendition of the classic Bram Stoker tale offers a comedic twist that has garnered attention both in New York and London. Released on March 25, 2025, Mickey-Jo provides an in-depth analysis based on his recent viewing experience.

Overview of the Show

Dracula, A Comedy of Terrors is a parody of Bram Stoker's iconic Dracula story, co-written by Steve Rosen and Gordon Greenberg, who also directs the production. Originally staged Off Broadway at New World Stages, the show has transitioned to London’s Menier Chocolate Factory, a venue known for hosting similar comedic performances. Mickey-Jo notes the viral marketing success of the New York run, which extended beyond its initial Halloween booking period, raising questions about the reception of such wacky, risqué late-night comedies in London.

Performance Reviews

James Patrick Daly as Dracula: Daly reprises his role from New York, bringing a contemporary and queer edge to the character. Mickey-Jo praises Daly’s performance, highlighting his ability to blend humor with depth. “[00:45] Dracula comments to Jonathan that Lucy in her picture looks like she might be a B positive, and he replies that she's always been quite the optimist,” Mickey-Jo points out the witty script that Daly brings to life.
Charlie Stemp as Jonathan Harker: Replacing Andrew Keenan Bolger from the New York production, Stemp delivers a natural British portrayal that feels less contrived and more authentic. Mickey-Jo appreciates Stemp’s transformation from a prudish real estate agent to a vampiric rock character. “[12:30] Charlie Stamp was not casting. I expected to see in this, because we're used to him fronting big, all-singing, all-dancing musicals,” he remarks on Stemp’s versatility.
Safina Lada as Lucy: Lada embodies the strong-willed heroine with a touch of vulnerability. Mickey-Jo highlights a standout moment where Lucy’s bravado meets vulnerability: “[22:15] She runs away and throws herself at the wall and manages to very visibly undo her own nightgown negligee…”
Sebastian Torquier as Mina: Torquier delivers a manic energy as Mina, Mina’s hysterical humor contrasts with the more stoic characters. Mickey-Jo commends Torquier’s performance, noting, “[30:00] Sebastian Torquier characterizes her with this real manic energy and lands every single line.”
Diane Pilkington in Multiple Roles: Pilkington showcases her quick-change artistry, portraying multiple characters with seamless transitions. While Mickey-Jo praises her versatility, he suggests that some gags felt “a little bit more slapdash” and less effective in execution.

Direction and Staging

Directed by Gordon Greenberg, the production employs visual comedy through props and staging techniques reminiscent of Mischief Theatre’s work. Highlights include:

Visual Gags: “[08:00] The repeated use of sprayed mist to create fog… Dracula's entrance with a 12ft tall Abercrombie model silhouette.”
Choreography and Pantomime: Elements like the hobby horse sequence and pantomime-style interactions nod to British comedic traditions. Mickey-Jo appreciates these touches but notes they sometimes border on the formulaic.

Cultural Adaptations: New York vs London

Transitioning from New York to London, the production incorporates British cultural references, enhancing its local appeal. Examples include:

References: “[18:20] Janet Street Porter gets a mention…”
Language and Slang: Adaptations like substituting “timeshare” with a more British equivalent add authenticity, though Mickey-Jo hints at missed opportunities for deeper cultural integration.

Thematic Analysis

Mickey-Jo explores the thematic depth beneath the comedy, drawing parallels to Rocky Horror. He suggests that Dracula, A Comedy of Terrors not only aims to entertain but also subtly addresses contemporary issues around identity and relationships. “[35:00] Dracula with this more modern sensibility, with this queer identity… allows them both to be more realized and happy versions of themselves.”

Strengths and Criticisms

Strengths:
- Humor Timing: Mickey-Jo rates the comedic timing positively, noting an average laugh every two and a half minutes.
- Character Depth: The contemporary and queer portrayal of Dracula adds a fresh layer to the narrative.
- Performances: Strong performances by Daly, Stemp, and Torquier enhance the overall experience.
Criticisms:
- Consistency: The comedic momentum falters outside Dracula’s scenes, leaning back into traditional parody without fully capitalizing on its unique elements.
- Character Interactions: Some cross-dressing humor feels less effective in the London context compared to New York.
- Direction Choices: Certain gags, like Pilkington’s multiple characters, don’t always land as intended.

Conclusion

Mickey-Jo concludes that Dracula, A Comedy of Terrors is a genuinely funny and entertaining show that offers a fresh take on a classic story. While it excels in specific areas, such as performances and certain comedic moments, it occasionally struggles with consistency and fully leveraging its thematic potential. Overall, Mickey-Jo recommends the production as a wild and enjoyable night out for those seeking laughs.

“A legitimately funny show. A wild night out. Go and check it out if you are looking for laughs” – Mickey-Jo [45:00]

Final Thoughts

Mickey-Jo encourages listeners to experience the show themselves and share their thoughts, fostering a community of theatre enthusiasts. He emphasizes staying connected through his YouTube channel and podcast platforms for more reviews and theatre news.

“Have a Stagey day. Subscribe.” – Mickey-Jo [50:00]

Notable Quotes:

“[00:45] …Dracula comments to Jonathan that Lucy in her picture looks like she might be a B positive, and he replies that she's always been quite the optimist.”
“[12:30] Charlie Stamp was not casting. I expected to see in this, because we're used to him fronting big, all-singing, all-dancing musicals.”
“[22:15] ...She runs away and throws herself at the wall and manages to very visibly undo her own nightgown negligee…”
“[30:00] Sebastian Torquier characterizes her with this real manic energy and lands every single line.”
“[18:20] Janet Street Porter gets a mention…”
“[35:00] Dracula with this more modern sensibility, with this queer identity… allows them both to be more realized and happy versions of themselves.”
“A legitimately funny show. A wild night out. Go and check it out if you are looking for laughs” [45:00]
“Have a Stagey day. Subscribe.” [50:00]

Recommendation

For theatre aficionados and casual enthusiasts alike, Mickey-Jo’s review offers valuable insights into whether Dracula, A Comedy of Terrors is worth experiencing. Whether you’re intrigued by its modern, queer twist or simply in search of a good laugh, this production at the Menier Chocolate Factory presents a compelling case.