Neck-Biting Laughter In A Light-Hearted DRACULA Romp At Playmakers
By: Reynard Loki
Don’t take the upcoming Playmaker production about Dracula too seriously. The vampire in “Dracula: the Musical?” is bumbling and inept, more like The Count in the films "Love at First Bite" or "Dracula: Dead and Loving It." Neither has he any similarity with the current heartthrob, Edward, in the Twilight series. This Dracula loses track of time and fails to return to his castle before sunrise. He spends several days in a sanitarium, interacting with its doctors and patients.
Since the original Bram Stoker book is now in the public domain, anyone can take a stab at a different version of the story. Rick Abbot has done just that, writing the book, music and lyrics for this madcap version complete with dancing and special effects. It pays as much homage to Mel Brooks as to Mr.Stoker.This musical farce is produced with assistance from the Oklahoma Arts Council and in cooperation with Samuel French, Inc. The minimum audience age is elementary school. This low maturity level does not reflect the caliber of the script or the intelligence quotient of the cast. It is based on those who will not disturb other audience members, and who will be able to understand the play and find it enjoyable.As in the original, Dr. Seward (Daniel Plant) runs a madhouse, and the new Hungarian Count Dracula (Ron Riley) still has designs on the neck of the doctor’s daughter, Mina (Ashley Davidson). Seward’s ditzy wife Sophie (Tonya Rudick) and Mina’s young friend Bubu (Gisele Adair)--Lucy she is not--provide laughs you can really sink your teeth into. This family is a bit slow on the uptake, so it is up to Van Helsing (Jonathan Elmore) to explain the third bite on Mina’s neck, and to save her with the help of a surly maid, Nelly (Leah McLain), the resident madman, Boris Renfield (gender-bent by Pam Leptich), Bubu, and Dr. Seward.
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