Constellation's 'Dracula: A Comedy of Terrors' Delivers Gothic Hilarity

Constellation Theatre Company has transformed Bram Stoker's gothic horror classic into a wickedly entertaining romp with "Dracula: A Comedy of Terrors," now playing at Atlas Performing Arts Center through February 15, 2026. This brisk, bawdy production reimagines the infamous Count as a leather-clad, modern-looking vampire who's equal parts rock god and hopeless romantic, searching for love while maintaining his bloodthirsty habits.

Dracula: A Comedy of Terrors presented by Constellation Theatre Company at Atlas Performing Arts Center

The show's brilliance lies in its fearless embrace of absurdity. Gordon Greenberg and Steve Rosen's script takes the familiar tale of sinister castles and English ingenues and infuses it with contemporary cultural references, sexual innuendo, and sharp wit that transforms the Prince of Darkness into a surprisingly vulnerable figure. This Dracula bakes organic, gluten-free cakes and openly discusses his childhood trauma, all while maintaining his supernatural menace. Director Nick Martin has crafted a production where candlelit creepiness collides beautifully with modern comedic timing, creating humor that's both literate and gleefully unhinged.

The production succeeds largely due to its ensemble of five versatile performers who shapeshift through a dizzying array of roles with remarkable skill. Noah Israel brings complexity to the Count, portraying him as a seductive yet insecure figure whose quest for "The One" drives much of the comedy. The show plays liberally with the archetypal characters, turning traditional roles on their heads while maintaining genuine affection for the source material.

The female characters shine particularly bright in this adaptation. Lucy emerges as a smart, spirited Oxford graduate torn between duty and temptation, while her sister Mina discovers her own adventurous side. The production reaches new heights with the entrance of Dr. Van Helsing, reimagined here as a female vampire hunter whose unflappable wit and expertise prove essential to the story's climax. The casting choice adds fresh energy to the familiar narrative while delivering some of the show's biggest laughs.

The rapid character changes demonstrate the cast's impressive range. One performer seamlessly transitions from playing a psychiatrist running an insane asylum to the bug-eating patient Renfield, executing the transformation with breathtaking speed and precision. Another excels as the fabulously quirky Jonathan Harker, whose OCD tendencies and unexpected character evolution generate both sympathy and humor. The actors generate chemistry that explores themes of identity and desire with a playfully fluid approach, adding tension and laughs in equal measure.

Martin's direction maximizes every opportunity for physical comedy and theatrical spectacle. The show features conga lines, puppet sequences, and perfectly timed musical interludes that underscore the production's anything-goes spirit. The comedy is kinetic and the pacing tight, ensuring laughs land with satisfying consistency throughout the 80-minute runtime. Even when the production flirts with excess, it maintains momentum through clever staging and the ensemble's committed performances.

The technical elements enhance the madcap atmosphere. Sarah Beth Hall's set design provides numerous opportunities for surprise entrances and visual gags, complete with atmospheric gravestones. Venus Gulbranson's lighting design pulses with flashing colors that heighten both the horror and comedy elements. Madeline "Mo" Oslejsek's sound design ranges from organ music to foghorns, creating an auditory landscape that shifts effortlessly between gothic dread and comic absurdity. Frank Lebovitz's costumes deserve particular praise, outfitting the cast in everything from Dracula's rock-star glitz to playfully anachronistic accessories that emphasize the show's era-mashing sensibility.

"Dracula: A Comedy of Terrors" demonstrates that classic gothic literature can be both honored and hilariously subverted. The production respects Stoker's original while fearlessly injecting contemporary sensibilities and adult humor into every scene. It's gothic horror by way of gallows humor, a theatrical experience that knows exactly when to bare its fangs and when to flash a wink. This is comedy with genuine bite, proving that even immortal tales can discover new life through laughter.