DRACULA, A COMEDY OF TERRORS is a Bram-new comedy you can really sink your teeth into. Filled with clever wordplay and anything-goes pop culture references, it’s a 90-minute, gender-bending, quick-changing, laugh-out-loud reimagining of the gothic classic, perfect for audiences of all blood types.
In the treacherous mountains of Transylvania, a meek English real estate agent takes a harrowing journey to meet a new and mysterious client, who just happens to be the most terrifying and ferocious monster the world has ever known. As famed female vampire hunter Jean Van Helsing and company chase Drac from Transylvania to the British countryside to London and back, their antics are guaranteed to increase your pulse and cause bloodcurdling screams—of laughter.
Dracula, A Comedy of Terrors is affable enough and probably a decent shout to take your grandparents to: it’s old fashioned, not offensive. But why bother going to the effort of bringing it over from New York? Stoker’s Count famously caused a stir when he came to London; Greenberg and Rosen’s elicits a weak smile at best.
Exaggerated parody is a Marmite genre. You either love it or hate it, but it can take only a minor miscalibration in tone or pitch for affection to turn to abhorrence. I found Titanique delightful but many close to me loathed it. I’m deeply irritated by the way Dracula insulates itself against criticism by telling us how slapdash it’s going to be (“you’ll be horrified – one way or another!”). But mostly I was just unamused and bored.
| 2023 | Off-Broadway |
Off-Broadway Premiere Production Off-Broadway |
| 2025 | West End |
West End |
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