Dracapella at Park Theatre Review
Lorna Want and Stephen Ashfield in Dracapella. Photo by Craig Sugden
Written by Cathie for Theatre & Tonic
Disclaimer: Gifted tickets in exchange for an honest review
Trigger warnings: Swearing, haze, sexual references & innuendo. Parental guidance advised.
Christmas isn’t Christmas without a spooky, gothic horror to scare your family. Park Theatre’s Dracapella is an utterly delightful choice to scare your family with. This gothic spoof takes Bram Stoker’s Dracula and spins it into a marvellous new story, blending beatboxing with fang-based comedy.
Written by Dan Patterson and Jez Bond (who also directs), the story starts much like the original novel but with a few key twists: Jonathan and Mina are already married and expecting, and Jonathan is heading to Transylvania to gain the clout to be a partner, not a new addition to the firm. Dracula isn’t a menacing predator planning a reign of terror. Now he’s a lovelorn vampire searching for a way to be reunited with his wife, Ilorna. The musical comedy quickly reveals itself as a spoof of epic proportions, filled with slapstick comedy, absurd sketches, and witty commentary on modern life.
Although the story shifts between Transylvania, London, Whitby, Seward’s Asylum, and the Westfelt house, the set is minimalist. We are presented with plain wooden boards, and an array of comedic props are fully in view, which fully focuses the show on the cast. This simple design is highly effective, letting the sharp script shine. The jokes, quips, and silly asides had me in stitches, and my chest hurt the next day from laughing so much. The style of comedy can best be described as a mix of Blackadder and Whose Line Is It Anyway?, with lightning-fast delivery, scalding political commentary, and a beloved use of farce.
One of the best strengths of this show is its cast is sheer musical comedy genius. Each of them gets plenty of moments to shine, and the variety of ad-libs had me in tears of laughter. Lorna Want’s Mina was a witty and empowered Victorian woman who determinedly drove the plot forward with her own strength. The show often points out the misogynistic attitudes towards Victorian women and delights in upending them repeatedly.
Ako Mitchell’s Dracula was both sweetly sensitive and sinister, who chooses to walk and not use his supernatural powers. It’s difficult to create your own stamp on such a renowned character, but Mitchell achieved this with panache and incredible charm. Keala Settle is a phenomenal comedic genius as Lucy Westfelt and a true delight to watch. Stephen Ashfield as Harker was a captivating example of hapless comedy and incredibly charming to watch. Ciarán Dowd is a true delight to watch as Sinister and Van Helsing, and incredible in his ad-libs and bringing the house into loud laughter. Philip Pope was brilliant and a strong support to the cast as Seward and Sir Holmewood. Monique Ashe Palmer has incredible comedic timing and brings her multiple characters and accents to life with much charm and style. A
nother strength of this show that works so well is that all music and special effects demonstrated throughout the show are made by only human bodies. ABH Beatbox Alexander Belgarion Hackett is truly astounding in his inventive beatboxing and support in creating acapella music. He is truly magnetic to watch and the heart of what makes this show so captivating and unique. As well as his beatboxing, this show also used the cast to sing acapella versions of 80s hits “Eye Of The Tiger”, “Holding Out For A Hero”, and “Somebody to Love”. Sometimes these are sung with devotion to the original, and sometimes they are changed to comedic parodies such as “Midnight Train to Georgia” including a parody stitch about modern national rail service failures.
The pace is swift and full throttle throughout, with a first half of fifty-five minutes and a second half of forty-five minutes. This is a good show to take older children to for a family comedy night. This is a fangtastic comedy, filled with bite and clever jokes galore. It’s the perfect antidote to the winter blues and a reminder of how restorative great comedy can be, especially at Christmas. It’s also a fantastic alternative to traditional pantomimes.
If you enjoy parodies of Gothic literature, silly sketches, a phenomenal cast, and a brilliant night out, this show is for you.
Running until 6th January
★ ★ ★ ★ ★
