Review: DRACULA: A COMEDY OF TERRORS at Theatre Raleigh

Just in time for Halloween, Theatre Raleigh is inviting audiences to sink their teeth into a hilariously ridiculous reimagining of Bram Stoker’s classic tale. Before the show even begins, the theatre’s lobby has been transformed into the Bite Bar, immersing audiences in a delightfully spooky atmosphere that immediately sets the tone for the evening. It’s a fun touch that makes the experience feel like more than simply attending a performance, getting you into the Halloween spirit before you’ve even taken your seat.

Written by Gordon Greenberg and Steve Rosen, Dracula: A Comedy of Terrors takes the familiar story of the infamous vampire and turns it completely on its head. The duo’s comedic sensibilities are on full display, with a script packed with clever wordplay, modern references, and an unapologetically campy approach to the source material.

Telly Leung’s direction embraces that absurdity wholeheartedly, putting physical comedy at the forefront of the production. Every exaggerated gesture, provocative pose, and knowing glance toward the audience feels deliberately placed to squeeze every possible laugh out of the material. The production rarely allows a comedic opportunity to pass it by, and Leung’s direction, paired with a cast that’s more than willing to throw themselves into the madness, creates an evening that is consistently entertaining.

Leading the charge is Nick Adams as the titular Dracula, who is an absolute scene-stealer. From the moment he appears, it’s nearly impossible to take your eyes off him. Adams possesses a magnetic stage presence, effortlessly commanding attention through his exaggerated expressions, physicality, and frequent breaking of the fourth wall. Every look rightfully earns another laugh, and when Dracula isn’t onstage, you find yourself eagerly awaiting his next appearance. He’s clearly having a wonderful time with the role, and that enthusiasm is infectious.

Zack Koronov is equally hilarious as Mina, Dr. Van Helsing, & Others, showcasing impeccable comedic timing complete commitment to each character’s larger-than-life personality. Particularly enjoyable is how Koronov embraces the heightened femininity of his characters without reducing them to simple stereotypes. These women are unquestionably caricatures, but the humor comes from who they are rather than merely the fact that a man is portraying them. Koronov understands that distinction perfectly, leaning into every exaggerated mannerism with wonderful confidence.

Nat M. Sherwood is a tour de force of physical comedy as Dr. Westfeldt & Others, delivering some of the evening’s biggest laughs and emerging as a standout of an already strong ensemble. Their portrayals are wonderfully over-the-top, with every cocked eyebrow and carefully timed expression seeming to promise another laugh before they’ve even opened their mouth. Sherwood switches between characters at a dizzying pace without ever missing a beat, bringing an incredible amount of energy and commitment to every role.

Joe Moeller takes on the role of Jonathan Harker, a comparatively reserved character surrounded by far more eccentric personalities. While Jonathan doesn’t initially have quite the same opportunities for outrageous antics as his counterparts, Moeller makes the most of every moment, finding humor in his reactions to the madness unfolding around him. As the evening progresses, he gets the opportunity to let loose as well, showcasing his versatility as he effortlessly shifts between both ends of the comedic spectrum.

Mallorca Sievert brings plenty of spirit and conviction to Lucy Westfeldt, portraying her as a young woman whose intelligence, curiosity, and determination make her far more than a traditional damsel in distress. She plays Lucy’s independence and affection for those around her with complete sincerity while still knowing exactly when to lean into the production’s heightened comedy. Sievert’s wonderfully expressive reactions are a particular delight, allowing her to hold her own amid the larger-than-life personalities surrounding her.

Beyond the performances, the production’s technical elements play an important role in bringing the comedy to life. Theatre Raleigh utilizes Victoria Deiorio’s original sound design and composition to wonderful effect, with the audio often functioning as a punchline itself. From dramatic crashes of thunder to perfectly timed horse neighs punctuating the dialogue, there’s an almost old-fashioned radio-play quality to the way sound and performance work together, adding another layer of theatrical fun.

Sam Terrell’s lighting design is another highlight, constantly shifting to match the production’s ever-changing tone. Dramatic spotlights, ominous red glows, and flashes of lightning create the gothic atmosphere you would expect from Dracula, while the production is just as willing to throw those conventions aside when the moment calls for it. At one point, a rotating rainbow of colors transforms the stage into something resembling a nightclub, demonstrating just how gleefully this production moves between gothic horror and campy comedy.

Ultimately, Dracula: A Comedy of Terrors knows exactly what it wants to be: a fast-paced, delightfully ridiculous comedy that gives its talented cast plenty of opportunities to shine. There’s something to be said for an evening at the theatre that simply allows you to escape, laugh, and have a genuinely good time.

So if you’re looking to get into the spooky spirit or want to laugh so hard you’ll have abs like Dracula’s, fly on over to Theatre Raleigh for a frighteningly good time. 

Dracula: A Comedy of Terrors runs at Theatre Raleigh’s De Ann S. Jones Theatre through November 8.

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