Review: DRACULA: A COMEDY OF TERRORS at HLC2 Black Box Theater

There is nothing subtle about the pleasures of DRACULA: A COMEDY OF TERRORS, and that is part of its considerable charm. Presented by the Austin Community College Drama Department at the Highland Campus, this gleefully campy comedy by Gordon Greenberg and Steve Rosen mixes Gothic atmosphere with sexual innuendo, ridiculous situations, and performers willing to embrace every outrageous turn. Under Jamie Rogers’s direction, the production finds a thoroughly entertaining balance of lewdness, lunacy, and theatrical invention. It makes for a very funny night.

The fun begins before audiences reach their seats. A graveyard outside the theater offers an inviting spot for arrival photos, while a wonderful hanging bat display in the foyer carries the spooky spirit indoors. These welcoming touches establish the production’s playful approach and make entering the theater feel like part of the occasion.

The familiar vampire story provides a framework for an evening in which five actors tackle an assortment of characters, creatures, and comic complications. Rogers uses the playing space effectively, keeping the action lively while giving the performers room to develop their individual comic personalities. The humor benefits from that combination of movement and commitment: even when the circumstances become completely absurd, the cast keeps charging ahead with conviction.

Kirk Kelso is a particular delight as Mina and Dr. Van Helsing, commanding attention with a wonderfully expressive blend of sauciness, wisdom, and flirtation. His Mina has a coquettish confidence that makes each appearance worth watching, while his Van Helsing offers another thoroughly amusing character creation. Kelso inhabits these roles with an assurance that gives the comedy both personality and momentum. As Dracula, Jacob Rosenbaum supplies an equally committed performance, maintaining his accent throughout and embracing the character’s sexual overtones with unabashed confidence. His willingness to lean into Dracula’s excesses makes him an excellent fit for this irreverent treatment.

Ryan Alexander brings welcome versatility to Harker and his numerous additional roles, with his very funny Gravedigger proving an especially memorable contribution. Jude Jecker’s shifts between Dr. Westfeldt and Renfield generate some delightful moments, supported by a strong sense of vocal tone and stage presence. Milo McKinney gives Lucy an engaging presence while also taking on Kitty, the Driver, and a Man-Eating Wolf. Together, the ensemble makes the production’s many character changes a substantial part of the fun.

The scenic design by Monroe Oxley and Miguel De Hoyos is among the evening’s strongest elements. Gothic arches, horned details above the doors, and hanging façade pieces give the stage an impressive sense of height. Entrances and exits sit at varied angles, creating visual interest and providing useful pathways for the action. Rachel Atkinson’s lighting enriches that architecture with beautiful purples, blues, and greens. Rotating preshow patterns, suggestively skeletal shapes on the walls, and strip lighting around the main floor arch make the space entertaining to study even before the performance begins.

Lowell Bartholomee’s sound design is another standout. A preshow playlist featuring selections such as “Bat Out of Hell,” “Bloodletting,” and “Dead Man’s Party” establishes a playful, monster-loving mood. Throughout the production, classical and Gothic instrumental music supports the atmosphere, while sound effects arriving from different locations across the stage and audience extend the action beyond the scenery. Bert Keefer’s props and amusing puppets, with assistance from Liam Burritt, contribute additional comic texture. Kerry Bechtel’s costume design gives Dracula a particularly glorious lace shirt, an apt flourish for Rosenbaum’s extravagant characterization. Stage Manager Oliver Pomerantz and Assistant Stage Manager Asa Cavazos also deserve recognition for coordinating an evening with so many moving parts.

Austin Community College’s DRACULA: A COMEDY OF TERRORS delivers exactly the sort of cheerful misbehavior its title promises. Its standout performances, handsome Gothic setting, and excellent lighting and sound create an inviting home for all that silliness. For audiences who enjoy camp, bawdy humor, and a vampire with very little interest in restraint, this production is an easy recommendation. Arrive early for a graveyard photo, admire the bats, and settle in for a thoroughly fun night at the theater.

Audience note: This production contains adult humor, sexual innuendo, blood, mild stage violence, and spooky imagery. Its bawdy comedy and mature themes are best suited to adult audiences; parents and caregivers should consider these elements before bringing children or younger teens.

DRACULA: A COMEDY OF TERRORS by Gordon Greenberg and Steve RosenTheater THEATRE COMPANY: Austin Community College Drama Department, 

VENUE: HLC2 Black Box Theater, 6101 Airport Drive, Highland Campus, Building 2000, Second Floor, Austin, TX, 78752

DATES: October 16-November 1, Fridays-Saturdays, 7:30 pm, Sundays at 2:00 pm 

RUN TIME: 90 minutes, no intermission

TICKETS: $8

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