Category Archives: Reviews

DRACULA, A COMEDY OF TERRORS

★★★★

Menier Chocolate Factory

DRACULA, A COMEDY OF TERRORS

Menier Chocolate Factory

★★★★

“the air is thick with mischief and the sense of fun that this insanely talented troupe bring to the stage is enough to win us over”

‘Transsexual Transylvaniaaa-a-a!’ comes to mind the moment James Daly’s lace-and-leather-clad, midriff-baring Dracula makes his flamboyant entrance onto the stage. But it’s a riff that’s half a century old. So the writers, Gordon Greenberg and Steve Rosen, need something more saucy to dollop onto the old frank-n-furter. It’s safe to say, thankfully, that they’ve dished up the magic ingredients – hundreds and thousands of them in fact, sacrilegiously scattered all over Bram Stoker’s gothic masterpiece. It’s the theatrical equivalent of popping candy, that fizzles in your mouth and leaves you giggling with effervescent joy. Chuck in some camp, gender-swapping, costume-changing, character-bending humour; a touch of gore, and rapid-fire one-liners and you eventually arrive at the imperfect feast that is “Dracula, A Comedy of Terrors”. Faithful(ish) to Bram Stoker’s original, it still takes succulent chunks of the story’s flesh and regurgitates it dripping with frivolity. As the writers themselves have said of the novel: ‘anything that takes itself that seriously is a prime target for satire’.

As the houselights fade, we are plunged into a cacophony of darkness and noise, rather like entering a ghost train at a fairground. Tijana Bjelajac’s shadowy set reflects this kind of clubland-meets-circus atmosphere, while Tristan Raine’s costumes blend Victoriana with novelty, giving hints of steampunk. Clever use of props and puppets add to the magic, while the many costume changes are acrobatic feats – one in particular drawing its own round of applause. But the main attraction is the juggling act in which the cast of five play a whole horde of madcap characters.

Little time is spent in Transylvania itself. Jonathan Harker (a wonderfully goofy and uptight Charlie Stemp) rocks up at Dracula’s castle to clinch a lucrative property deal with the count. James Daly’s Dracula is the archetypal image of the narcissistic Rock Star – money and sex on tap but still wanting more. The sexual tension between him and Harker is palpable, until Dracula diverts his bloodthirsty attentions onto Harker’s fiancé, Lucy. By now we are back in Whitby, not exactly the kind of seaside town you have in mind for a queer pilgrimage. Dracula meets his match with the array of kooky individuals he comes up against. Safeena Ladha is headstrong and assertive as Lucy. Her rather downtrodden sister, Mina, is played by Sebastien Torkia, complete with ginger wig and ruffled ballgowns. Dianne Pilkington is their father, Dr. Westfield, who has turned their house into a live-in retreat for society’s oddballs (all played with a vaudevillian hilarity by them all).

You know the story, and how it ends. It’s the treatment that stands out. Co-writer Greenberg also directs, his hand visibly cracking the whip to keep the pace as frenetic as the lunacy. After the initial set-up, however, the humour is relatively conventional. More panto than subversive. The melodrama is kicked to the rafters even if some of the jokes don’t aim quite so high. But the air is thick with mischief and the sense of fun that this insanely talented troupe bring to the stage is enough to win us over. It is all very silly and chaotic, but delivered with precision and comic timing you could die for. But it doesn’t quite draw blood. It is more like a love-bite than a sharp set of fangs puncturing our skin. Then again – that’s probably a good thing. Definitely worth staking out.



DRACULA, A COMEDY OF TERRORS

Menier Chocolate Factory

Reviewed on 18th March 2025

by Jonathan Evans

Photography by Matt Crockett

 

 


 

 

Previously reviewed at this venue:

THE PRODUCERS | ★★★★★ | December 2024
THE CABINET MINISTER | ★★★★ | September 2024
CLOSE UP – THE TWIGGY MUSICAL | ★★★ | September 2023
THE THIRD MAN | ★★★ | June 2023
THE SEX PARTY | ★★★★ | November 2022
LEGACY | ★★★★★ | March 2022
HABEAS CORPUS | ★★★ | December 2021
BRIAN AND ROGER | ★★★★★ | November 2021

 

 

DRACULA

DRACULA

DRACULA

DOWN THE ROAD

★★★★★

Playhouse East

DOWN THE ROAD

Playhouse East

★★★★★

“The intensity of the play is remarkably maintained throughout the entire 90 minutes”

The UK’s first revival of ‘Down the Road’ since 2003 was certainly worth the wait. Today, the play sits against the backdrop of an infinitude of true crime documentaries, podcasts and media. The vastness of the landscape has almost desensitised us. However, this epic production brings the horrific brutality and mercilessness of murder to life in front of us in a way very few performances could.

Down the Road is a three-hander consisting of Dan and Iris Henniman (played by Aaron Vodovoz and Annelise Bianchini), an aspirational couple of journalists who have been hired to interview Bill Reach (played by Joshua Collins), a young, sadistic serial killer, who has recently lost the appeal against his sentence. He is ready to tell his story. They think they are ready to listen to it. And so do we. Bill knows this when he says to his interviewers in their first meeting: “I hope you’re not nervous.” But it is impossible not to be. Joshua Collins is as captivating as he is terrifying in an eerily convincing performance. It is like we are watching the Ted Bundy tapes.

Initially, it seems that the play is about Reach, as he revels in his new-found infamy and indulges himself in recounting his killings (which he refuses to call ‘murders’). However, the real narrative is the effect that these meetings have on the young married couple. To begin with, he needs them. Eventually, they need him. The irony of Reach in handcuffs is palpable, when really he is control and they are the ones restrained. The performances of Aaron Vodovoz and Annelise Bianchini are exceptionally strong. The exhaustion and frailty of Dan is stark. The helplessness of Iris’ desperation is moving.

The intensity of the play is remarkably maintained throughout the entire 90 minutes. The masterful writing (Lee Blessing) and the pinpoint direction (Tracey Mathewson) mean that in every scene we are left wanting more. The seamless transitions from the prison to the motel room assist with the fast pace of the plot. Subtle changes are made to the scenes as the show progresses to further raise the tension, such as the motel room become more disorderly and the central light in the prison getting brighter and sharper. Credit should go to Katren Wood (set design) and James Oldham (sound design) for these clever touches.

A fault in many shows similar to this, is that a well-crafted story arc is undermined by a rushed or unfitting ending given the context of what has preceded it. Down the Road is different. It threatens a cliffhanger before the final revelation. The story ends exactly as it should. And yet we want a sequel.

 



DOWN THE ROAD

Playhouse East

Reviewed on 14th March 2025

by Luke Goscomb

 


 

Also reviewed by Luke:

DELUGE | ★★★★ | SOHO THEATRE | February 2025

 

DOWN THE ROAD

DOWN THE ROAD

DOWN THE ROAD