(Left to right) Adam R. Arkins (Dr. Westfeldt, Noah Mutterperl (Dracula) center, and Jolene Vettesse (Mina). Photo by l to r) Adam R. Arkins (Dr. Westfeldt- mostly cropped) Noah Mutterperl (Dracula) at center, Jolene Vettesse (Mina). Photo by Kayla Garcia.
The Workhouse Arts Center’s “Dracula, A Comedy of Terrors,” a spin-off of Bram Stoker’s 1897 novel, takes a cheeky twist on the classic horror tale. Directed by Danilo Stapula and written by Gordon Greenberg and Steve Rosen, the production injects levity, salaciousness, and contemporary humor into the story. While it provides lighthearted entertainment, the psychological depth and suspense of the original novel are noticeably absent.
It delivers laughs and spectacle as a horror comedy at its most lighthearted—a playful retelling of the world’s most famous vampire.
The plot remains centered around Count Dracula’s arrival in England to feast on fresh blood and spread terror, but this version prioritizes humor and contemporary references. For instance, when Jonathan Harker, played to hypochondriac perfection by Seth Drenning, arrives at Dracula’s castle, the carriage driver asks for a five-star rating. Later, Harker proceeds to list his gluten-free, vegan, organic, non-GMO dietary preferences—a clear nod to modern sensibilities. The show leans heavily into its comedic angle, sprinkling sexual innuendos throughout.
One of the production’s most striking features is its fixation on “sexy,” a trope often seen in Halloween costume culture (sexy maids, nurses, nuns, etc.), particularly in the portrayal of Dracula himself, played with flair by Noah Mutterperl. Talented costume designer Judith Harmon dresses Dracula in leather pants, sheer muscle tops, and velvet jackets, turning him into more of a Halloween fantasy than a fearsome creature. When Dracula quips, “It feels like I’ve been eating junk food all this while and now I’m finally eating healthy,” it perfectly encapsulates the show’s tone—comedic fast food that offers instant gratification.
The cast fully embraces the campy tone, delivering performances filled with exaggerated gestures and physical comedy. Whether spraying water in a character’s face to mimic a storm or bouncing around a makeshift carriage to depict bumpy roads, the actors, including Adam R. Adkins, Hope Cassady, Jolene Vettese, are clearly having fun. The use of props, such as a red-haired rag doll to represent Lucy’s body, adds to the play’s absurdity, as do the frequent winks and interaction with the audience that break the fourth wall.
Technically, the show shines thanks to Andie Matten’s sound design which complements the over-the-top action, and Stapula’s set design, which cleverly evokes a Victorian atmosphere despite the comedic tone. Judith Harmon’s costumes also remain largely faithful to the period, save for the leather getups. These elements ground the production and keep it from completely losing its Victorian gothic roots, even as the script veers into farcical territory.
Ultimately, “Dracula: A Comedy of Terrors” is not meant to be taken seriously. It’s a reminder that theater doesn’t always need to aspire to high art. Sometimes, it’s enough to embrace the absurd. It delivers laughs and spectacle as a horror comedy at its most lighthearted—a playful retelling of the world’s most famous vampire.
Running Time: One hour and 30 minutes with no intermission.
Advisory: Contains adult language and subject matter, haze, and strobe lighting.
“Dracula, A Comedy of Terrors” runs through October 27, 2024 at Workhouse Arts Center, W-3 Theater, 9518 Workhouse Way, Lorton, VA 22079, Saturdays and Sundays at 4 pm. For more information and to purchase tickets, please go online.
