Review of ‘Dracapella’: “Dumb-downed retelling of Stoker’s classic is a comedic braniac”

London’s Park Theatre hosts this new musical spoof of the famous Victorian horror story, featuring petrifying vocal performances and terribly silly humour. Guillermo Nazara shares his views on the show to let us know if this incubus of whimsy comes off more pale than desired.

I wonder why vampires have always come off so gay. Maybe it’s because they turn into fruit batties. Or maybe it’s because Bram Stoker wrote one of the most prominent queer-coded narratives of the 19th century. He also chose horror, which resonates with anyone who’s ever experienced Grindr talk.

In any case, if Tom Cruise’s soft-mannered 1994 film rendition didn’t destroy your gaydar (and perhaps something else too), here comes a show where quintessential Victorian terror meets camp on the camp with a little extra of camp — open vowels and final “p” are essential when reading it out loud.

Welcome to Dracapella, a droll retelling of Stoker’s signature work through tongue-in-cheek portrayals, not-so-subtle double entendres, and a sanguine repertoire of pop hits performances done with no accompaniment other than vocal harmonies and a beatbox base.

It is as foolish as you can imagine. And it is that brilliant. For the most part, the script regales us with a gush of hysterical situations, which are delivered through delicious misunderstandings, absurdly funny puns, a few predictable yet effective punchlines, and ultimately, a bloody good reimagining of Stoker’s supernatural tale.

As the show begins, we are advised that only one of the following two statements is true. The first is that all the sounds we will hear are produced live. The second is that the recount is real. It’s not Vlad Tepes’s historical track that makes us question which is which. It’s their impeccable executions that bring the wonder and the wondering. And eventually, it all comes together in a solid confection that’s as soaring as it is biting.

The amusement goes down occasionally, but it never takes longer than a few minutes to shapeshift back to its former glory. Overall, every scene is vastly entertaining, moving at a fast yet steady pace.

Some humour devices come across as slightly repetitive, nonetheless. Those issues concern, particularly, the script’s constant criticism of female roles during the Victorian era. In the end, they are as tired as they are tiresome — and also, they are not entirely true. Maybe they should just bury the subject. Then again, we’re dealing with an army of the undead. And I’m definitely talking about vampires now — definitely.

Its extremely enjoyable writing is paired, if not surpassed, by the cast’s extraordinary skills. On the whole, the entire troupe brims with rapport, flair, and natural jest. And although some performances might appear a little lethargic, the general vibe is that of a high-energy journey with deeply infectious qualities.

Among them, Keala Settle earns a first mention for her interpretation of Lucy, whose adequate timing and sensational jest will surely make everyone in the audience lose their head, just as hers. Yet, the biggest praise goes to Ciarán Dowd in his multi-role performance as Dracula’s ghoul, Sinister, and a flamboyantly flirty new version of Professor Van Helsing — demonstrating an ample range, resourceful comicality, and a most inviting presence.

If you’re fanging for a getaway from the Christmas spirit but still wish for some seasonal happiness to get into your bloodstream, Dracapella is probably the show to cape for. Far from giving viewers a pain in the neck, the piece will beguile them with a frightfully uproarious story instead, and its raucous folly will certainly impale everyone in attendance.

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All pictures credit to Craig Sugden.

Dracapella plays at London’s Park Theatre until 17 January. Tickets are available on the following link.

By Guillermo Nazara