Dracapella | Park Theatre

Dracapella, which is co-written by Dan Patterson and Jez Bond, is a hilarious comedy that recounts the tale of Dracula through acapella. The Park Theatre's main house show for the festive season may not be a traditional pantomime, or even a family orientated story, yet the entire family is still promised an entertaining and enjoyable evening. Dracula, originally a 1897 Gothic novel by Bram Stoker, has been revived more often than the vampire himself, and yet this production manages to find a sense of originality and individuality. 

Dracula (Ako Mitchell) has spent over 400 years waiting for his love to be reincarnated and return by his side. Dracula's centuries of loneliness, apart from his two staff members Sinister (Ciarán Dowd) and Pustula (Monique Ashe-Palmer), drives him to desperate measures when he stumbles upon the chance of seeing his long lost love again. Jonathan Harker (Stephen Ashfield) is sent to collect Dracula's signature on a real estate document, but finds himself in an impossible situation when he discovers Dracula's true nature. The plot thickens when Dracula realises that Mina (Lorna Want), Jonathan's wife, is the reincarnation of his own love. 

The show for the most part keeps the plot intact, with other well known characters such as the infamous Renfield, Mina's friend Lucy and Van Helsing, all appearing as well. However the show deviates from the original novel in a multitude of ways, including a number of acapella numbers, and the witty script. The play refuses to be bound in one medium, throwing trick after trick at the piece creating a sense of mismatched comedy which somehow works incredibly well together. The comedy takes on a wide range, with several of the jokes admittedly receiving an awkward silence (to which the actors quickly improvise; persistent in their attempts to get a laugh), or moments where the production must be paused for the audience laughter is overwhelming. 

Director Jez Bond maintains a brisk pace at all times, packing in a substantial amount of gags (verbal and physical) into every moment of the show with little time to breathe. The gags are so frequent and varied between every scene, there are moments that at times it can almost feel as though it were a number of sketch shows stitched together by the story. 

Often the songs are inserted in the most random of moments within the show, with bizarre scene transition and whilst these don't necessarily move the plot forward, these are hilarious to watch nonetheless. Ian Oakley's musical direction allows for the performers to showcase their vocals, which despite the chaos, do impress the audiences. The act one closer I Need a Hero sequence really brings home the production value of the piece with a cinematic performance from every actor. 

Movement directors Patrice Bowler and Giaele Mattioli create seamless transactions as two separate locations are able to coexist on the small stage area. The set is sparsely decorated, with weathered wood and signpostage creating a rustic environment. Wooden crates and other small props are used effectively, quickly transforming into different settings, all while being joke-inducing in their own manner. Many of the performers are multi-rolling and their other costumes are hung up on the back wall. 

Simisola Majekodunmi's lighting design helps highlight background moments that may otherwise go unnoticed, leaning into the comedy of the play. Niamh Gaffney's (for Autograph) sound design, likewise, helps enhance verbal gags and enhances the incredible sound effects. Costumes (Sian Clare) have been thoughtfully crafted. The costumes are that of the period, and Dracula's cape is as flowy as one could hope for, along with several amusing surprises for the audiences. 

The cast have come together to create a very impressive show, and they are each as talented as the other. Philip Pope as Lucy's husband, although given a limited stage time, makes the most of it with a running gag that lends itself to laughter every time. Ashe-Palmer as Pustula is wonderfully unhinged, but her short turn as Renfield is even more impressive as she performs one of the show's most memorable songs. Keala Settle, although underused in the show, still manages to recieve the night's loudest applause following her solo. Settle's loving Lucy, whilst comedic in her own more subtle way, also becomes the show's most grounded performer. 

Ashfield as Jonathan Harker does exceedingly well in the role, with the perfect blend of charm, naivety and courage, and takes the endless puns in his stride, landing each of them perfectly. Mitchell, also surprisingly underused in the show about Dracula, is brilliantly cast with a natural commanding presence and hilarious facial expressions. Mitchell's performance ensures that audiences are always watching him whenever he is on stage. Lorna Want as Mina does a brilliant job, often challenging the stereotype of the character, and becoming her own strong person. 

Dowd plays three larger roles, Sinister (Dracula's staff), Walter (Lucy's Butler) and Van Helsing (a Dutch doctor) and he's absolutely phenomenal in each role. Not only does Dowd create three very different characters, with their own accents and body language, but he's also injected a certain quirk to each role that makes them each stand out. Dowd becomes the comedic vein that constantly keeps the laughter going even when the script doesn't quickly tickle the audience. Dowd's Walter, although creepy and bordering on a stalker, is hilarious, making even the more serious scenes amusing. Dowd's Van Helsing is rather dramatic and witty, bringing his own sense of comedy into the show. However, it's Dowd's turn as Sinister that is chillingly excellent. Dowd goes above and beyond in the role, causing side splitting laughter at every one of his choices. 

The cast are a mighty and formidable team, and yet there remains one more cast member that single handedly not only steals the show, but is quite literally the golden ingredient. ABH BEATBOX (Alexander Belgarion Hackett) is incomparable, unbeatable almighty and truly is just the star atop the tree. ABH BEATBOX provides every single sound effect in the show, if you can imagine it's in the show, ABH BEATBOX will have done it. Whilst forever lurking on the outskirts of the stage, ever present just half hidden, ABH BEATBOX's talent is undeniable and admittedly the show would simply not enjoy the same level of excellence without him.

Dracapella is a glorious departure from the cheery festive tales that are currently dominating theatres around the country, by presenting a gory and gothic tale that somehow brings just the same amount of, or even more, joy for the entire family. With moments of audience interaction, even participation, a popular score sung by very talented performers, a witty script that will not rest until the audience are gasping for breath, comedic genius gags, a thrilling story and a beat boxer who defies all odds, Dracapella is guaranteed evening of good fun.

Dracapella plays at Park Theatre until 17th January 2026.

Tickets and More Information

★★★★☆ (4*)

Gifted tickets in return for an honest review | Photography by Craig Sugden