Review: Dracula: A Comedy of Terrors

Posted by Curtain Up! on Nov 17, 2025

Dracula has never been sexier. At least not in this lively, farcical comedy now playing at the Garner Galleria Theatre through early May 2026. Dracula: A Comedy of Terrors, written by Gordon Greenberg and Steve Rosen and directed by Greenberg, swaps fangs for farce, seduction for slapstick, and centuries of gothic gloom for a quick ninety minutes of campy fun for everyone.

As Dracula’s journey unfolds, identities blur, alliances shift, and theatrical mayhem reigns. Greenberg and Rosen’s script revels in rapid-fire transformations and genre-bending twists, inviting audiences into a world where immortality is both a punchline and a philosophical quandary. It’s a madcap masquerade where no one—and I mean no one—stays in their lane for long.

At the heart of Dracula: A Comedy of Terrors is the eternally restless Dracula (Marco Alberto Robinson), whose charm is matched only by his existential longing. A delightfully chaotic ensemble joins him: the determined Mina (Zach Kononov), the earnest Jonathan Harker (Sean Scrutchins), the wide-eyed Lucy (Adriane Leigh Robinson), and the ever-resourceful Dr. Westfeldt (Leslie O’Carroll). Each actor shape-shifts through a variety of personas with high-octane flair, quick-change wizardry, and enough comedic sparkle to light up Transylvania.

Marco Alberto Robinson exudes magnetic swagger as Dracula, straddling seductive charm and theatrical absurdity. Whether tossing off a double entendre or striking a pose with cape in full flourish, Robinson commands the stage with a wink and a bite, making even the most outrageous moments feel grounded in character. His Dracula is less a monster than a moody diva—equal parts glam rock icon and existential philosopher—infusing every scene with sly sensuality and impeccable comedic timing. It’s a performance that’s as fun to watch as it clearly is to perform.

The ensemble not only keeps pace with the chaos—they thrive in it, rushing through the show’s rapid changes and genre shifts with fearless energy. Kononov, Scrutchins, Adriane Leigh Robinson, and O’Carroll each plunge into madness, swapping wigs, accents, and entire personas with a shared sense of mischief and momentum. Their collective energy drives the production’s campy pulse, turning every entrance, exit, and transformation into a celebration of theatrical excess. They are a cast that lives for the thrill of the unexpected, and their chemistry sparks with joyful excitement.

Gordon Greenberg’s direction crackles with the same wit and velocity that infuses the script he co-wrote with Steve Rosen. Every beat is choreographed for maximum comedic impact, from the split-second costume changes to the gloriously over-the-top entrances. Greenberg leans into the show’s camp sensibility without losing its emotional undercurrent, guiding the cast through chaos with a steady hand and a mischievous grin. It’s clear this is a world he helped build—and he knows exactly how to let it unfold with precision and exuberance.

The physical production of Dracula: A Comedy of Terrors is a riot of theatrical invention, thanks to a design team that clearly shares the show’s love of excess and surprise. Tijana Bjelajac’s scenic, props, and puppetry design conjures a world that’s both gothic and gleefully unhinged, filled with clever visual gags and playful transformations. Victoria Deiorio’s original music and sound design underscore the production’s rhythm and tone, adding just the right touch of theatrical flourish to its blend of horror and comedy. Charles R. Macleod’s lighting design keeps the pace electric, shifting from moody shadows to spotlighted absurdity in a heartbeat. And Tristan Raines’s costumes are a quick-change fever dream—corsets, capes, and wigs flying faster than a bat out of hell. Together, the design team crafts a world where camp meets craft, and every visual beat lands with a theatrical flourish.

Dracula: A Comedy of Terrors is a perfect match for the cabaret-style intimacy of the Garner Galleria Theatre at Denver Center for the Performing Arts, where every cape flourish and comedic gasp lands just inches from the audience. It’s 90 minutes of pure theatrical mischief—fast, furious, and unapologetically over-the-top. Playing through the beginning of May 2026, this production invites you to sink your teeth into a night of camp, chaos, and cleverness.

For information and tickets: https://www.denvercenter.org/tickets-events/dracula/

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