★★½

“there’s a surprising charm to Countess Dracula’s world”

Night madness? Otherworldly rage? A desperate desire for eternal youth? All qualities embodied by Countess Dracula, yes, but also by anyone experiencing the menopause, according to this playful adaptation of the horror classic.

Countess Dracula explores the hardships of aging for both women and performers with a light-hearted spirit, examining mental health, partnership and power. As a vaudevillian duo and partnered couple, Joey and Jack find their Dracula-inspired show gets out of hand once Joey begins to experience menopausal symptoms which disrupt both their professional and personal dynamics.

Theatre company OftheJackel in collaboration with Joanna Holden put Bram Stoker’s tale through the lens of two farcical entertainers, creating amusing vignettes peppered with physical comedy, which give off the reassuring quality of a silent film. The set design enhances this comfortable, quirky mood, with the lush opulence evocative of a horror house offset by a slightly homemade toybox feel, giving the audience the sense of having been shrunk down into a finger puppet show. There’s a neat alignment in how the disruption of the menopause and the breakdown of the pair’s double act play off each other. The horror stunts are suitably camp and practical (direction by Deborah Newbold), carried out in keeping with both the vaudevillian universe created and the original text.

Joanna Holden brings a wide-eyed childlike glee to the titular role which enhances the uncanny and unsettling nature of her bloodthirsty Countess. Jack Kelly props up the plot, taking on multiple roles as a doctor and Joey’s chain-smoking mother, as well as offering plenty of endearingly hapless support as her partner, thespian and otherwise.

Despite her trial and tribulations though, Joey is chirpy in the opening scene and chirpy in the closing one, so the transformation of her character feels flimsy. We didn’t really get to sink our teeth into the themes of societal perception, instead simply gnashing at them. When Joey visits the doctor, we start to unpick one of the most terrifying confrontations women can experience – a sneering medical system ready to cart them off or chop them up instead of listening – but we move on so quickly that the return and resolution of his character doesn’t feel entirely earned.

While the vignette feeling brings interest to the physical comedy interludes, it feels like they’re included at the expense of real character exploration, which is a sacrifice. It leaves the experience more like a collection of thematic skits than a piece with true perspective, lightly pondering rather than provoking thoughts. But the balance between comedy and horror is well judged, and there’s a surprising charm to Countess Dracula’s world which had us enchanted.

MISS BREXIT at Camden People’s Theatre

★★★½

“The show veers into chaos at times and revels in feverish energy that ignites the audience”

The cast of Miss Brexit frolic across the stage, directed by Alejandro Postigo and Amaia Mugica, in a joyful and touching celebration of identity and solidarity. The show poses as a pageant that allows one European contestant to remain in the UK after demonstrating their passion for British culture and music. Each song tells the difficult circumstances of their move to the UK, with stories of strange housemates, uncaring jobcentres and barmy employers. Accompanying the troupe is a bowtie wearing host who intercuts the performances with quizzes and audience participation.

The countries represented are Switzerland, (Maxence Marmy), Italy (Isabel Mulas), Portugal (Ricardo Ferreira) and Spain, or more accurately Catalonia (Alba Villaitodo – displaying exceptional commitment to ridiculousness) and Spain/Slovakia/Cuba (Shivone Dominguez Blascikova), highlighting the nuanced complex identities of Europe and Londoners AKA “The Marias”. The sparkly emcee (George Berry) whose performance is gleeful, reveals his own identity over the course of the show, parading as the epitome of British culture.

The cast have brilliant chemistry and tap into camp silliness, equipped with a recorder, black leotards, and a lot gumption, each brilliant in their respective scenes. The original music is impressive and delightful, incorporating other languages and delivered with passion (composed by Harvey Cartlidge), with particular singing talent exhibited in “Maria Maria” (Switzerland). The use of fabulous costumes make comment on stereotypes and colonisation as well as bringing levity and character to the segments.

The show veers into chaos at times and revels in feverish energy that ignites the audience. This glorious rough-around the edges piece is entertaining and surprisingly moving towards the end, with some hard truths and sad realties embedded into the fun. The writing is witty and satirical with the host spouting “unlike the communist dictatorships our contestants hail from, we have democracy”. The play tackles ramifications of xenophobia and Brexit in 2016, without referencing more recent developments and relying on Boris Johnson jokes (strangely there’s been three prime ministers since then). Occasionally, bits fell into confusion and were too reliant on audience interaction. There were also occasional, but noticeable moments where volume and lack of clarity was an issue despite the intimate performance space.

The show hits its message towards the end, switching from cabaret Eurovision to a more serious commentary on immigration and colonisation; undoubtedly, making use of the lived-experience of its performers. This bold funny and character-filled show is a jubilant audience experience with plenty of laughter and contemplation to be had as Britain and Europe grapple with the consequences of Brexit and its multicultural identity.

Tag Archives: Camden People’s Theatre

COUNTESS DRACULA

★★½

Camden People’s Theatre #2 #2

COUNTESS DRACULA

Camden People’s Theatre

★★½

“there’s a surprising charm to Countess Dracula’s world”

COUNTESS DRACULA

Camden People’s Theatre

Reviewed on 30th October 2025

by Jessica Hayes

Photography by Henry Maynard

Previously reviewed at this venue:

MISS BREXIT | ★★★½ | May 2024

CONFUSED CHRONICLES OF ALEPPO | ★ | August 2023

INVASION! AN ALIEN MUSICAL | ★★ | July 2023

COUNTESS DRACULA

COUNTESS DRACULA

COUNTESS DRACULA

MISS BREXIT

★★★½

Camden People’s Theatre

MISS BREXIT at Camden People’s Theatre

★★★½

“The show veers into chaos at times and revels in feverish energy that ignites the audience”