For more than 125 years, Bram Stoker’s legendary vampire tale, Dracula, has been retold through numerous stage and film adaptations. From the 1931 Universal Studios horror film masterpiece to the 2012 Sony Pictures children’s animated movie, Hotel Transylvania, this fabled story has thrilled generations. Dracula: A Comedy of Terrors, the latest incarnation of Stoker’s mainstay, debuted off-Broadway in 2023 to critical acclaim. This comedy by Gordon Greenberg and Steve Rosen is a farcical take on the classic novel, featuring raucous comedy in the style of Mel Brooks and Monty Python. Dracula: A Comedy of Terrors can currently be seen onstage at the Colonial Players, and it’s a bloody good show!
As the play begins, we meet English real estate agent Jonathan Harker, who travels to Count Dracula’s remote Transylvanian castle to assist with his upcoming move to England. During their meeting, Dracula sees a picture of Jonathan’s fiancée, Lucy Westfeldt, and mistakenly believes she is his long-lost love. Dracula is smitten with Lucy and relentlessly pursues her when he arrives in England. Concurrently, Lucy’s sister, Mina, is stricken with a mysterious blood disease, and it is suspected that Dracula might have caused this. Lucy and Jonathan decide to hire the famed vampire hunter Dr. Jean Van Helsing to kill Dracula and stop his macabre mission, and hilarity ensues along the way.
Ron Giddings’ portrayal of Count Dracula was sensational, and his spectacular presentation was mesmerizing. His magnetic stage presence and commanding demeanor perfectly matched the role, and he exuded unrelenting confidence. Giddings delivered his lines with a flawless Transylvanian accent, and his articulation and diction were outstanding. Jason Vellon’s marvelous performance as Jonathan was marked by his extraordinary ability to convey vastly different emotions in seconds, most notably when his character instantly transitioned from businesslike to frantic when dealing with Count Dracula’s antics. Vellon was hilarious while overcoming his differences with Dracula, and his physical comedy in a bumpy carriage ride scene was delightfully amusing. This gifted performer additionally played Lord Cavendish, Lord Worthington, and Lord Havemercy (all at the same time!) while seamlessly transitioning among “character” voices. This routine was comedic gold.
Melanie Gordon, as Lucy, impressively maintained a steady British accent for the entire production, and she colorfully expressed every emotion from stunned shock at Dracula’s romantic advances to heartfelt caring during her sister’s illness. Gordon also played Kitty Rutherford (the Westfelds’ housekeeper) with a cackling delivery that ideally illustrated her evil temperament. Eric Lund remarkably portrayed both Mina and Dr. Van Helsing, excelling in both roles and demonstrating extraordinary versatility. As Mina, Lund was tremendously entertaining, executing pratfalls and slapstick that elicited side-splitting laughter. In a complete 360, Lund played Dr. Van Helsing with a scholarly and determined spirit, effortlessly communicating intelligence. Shannon Benil portrayed Lucy and Mina’s father, Dr. Wallace Westfeldt, with a dignified disposition, heartwarmingly relaying the character’s concern for his family. She additionally played Dracula’s assistant, Renfield, with a frenetic and frazzled disposition, and her whirlwind argument scene (where she instantaneously switched between both characters!) was warmly received.
Debbie Barber-Eaton’s ingenious direction brilliantly staged the play in the Colonial Players’ intimate in-the-round house, and she effectively utilized every inch of the 180-seat space. Oftentimes, actors directly engaged with audience members and entered/exited through the aisles, placing theatregoers directly in the center of the action. Christina R. McAlpine’s ornate costumes displayed ominous hooded cloaks, elaborate period dresses, and, of course, Dracula’s iconic black cape. Lighting and Sound Designer Dudley Whitney created detailed fog and strobe-light illusions that deeply enhanced the play’s ominous mood. Puppet Maker J.B. McLendon inventively created props from foam and paper-mâché, and Constance Robinson’s illuminated wolf masks were visually stunning.
The Colonial Players have created a frightfully entertaining Halloween treat for audiences as this historic organization continues its 77th season with a modern take on a creepy classic. Dracula: A Comedy of Terrors is the perfect fall outing, and this splendid production is well worth the trip to downtown Annapolis. The clever wordplay (complete with local humor!) is guaranteed to elicit monstrous laughs, and this show is a wonderful opportunity to experience Stoker’s illustrious story through a whole new lens.
Running Time: One hour and 35 minutes, no intermission
Dracula: A Comedy of Terrors plays through November 15, 2025, at Colonial Players of Annapolis – 108 East Street, Annapolis, MD. Tickets ($23–$28) can be purchased online, in person at the Colonial Players box office, or by calling 410-268-7373.
A virtual playbill is available here.
Content advisory: This play features comedic horror, sexual innuendo, stylized violence, and some jump scares/loud effects. Mild to moderate language. Strobe lights and fog effects are also used in the production.
Dracula: A Comedy of Terrors
Written by Gordon Greenberg and Steve Rosen
Directed by Debbie Barber-Eaton
