**** Loosely based on the 1897 gothic novel, Dracula, by Bram Stoker, the Lazy Susan Theatre Co. presents “Dracula: A Comedy of Terrors”, now playing at Lincoln Park’s Greenhouse Theatre. This is truly a unique, silly, highly enjoyable, and erotically-charged production about the world’s most famous blood sucker.
Written by Gordon Greenberg and Steve Rosen and directed by Matthew Masino, this is a fast-paced, 90+-minute, ludicrous, dream-like, out-of-a-spray-can foggy romp into rather foreboding places. In the politest way possible to state this, Count Dracula’s most powerful weapon is not his fangs. Stripped down to his shirtless credentials, the pansexual, narcissistic monster is mostly contained within his tight, black pants. Throw on top of that a few pop-culture references, some gender-bending/drag roles, rapid-fire scenes, and a strong cast with relentless and immense physicality and talent. The whole thing is quite weirdly charming, worthwhile and absolutely amusing.
The story follows Jonathan Harker (the-dweeb-to-stud Jacob Gage) as he heads to the treacherous mountains of Transylvania in a horse-drawn carriage – the carriage ride alone is worth the cost of admission – to meet Count Dracula (a natural artistic role for Conner Paulson). When Dracula targets Harker’s fiancée, Lucy Westfeldt (Valerie Martire), we fast-forward to London, where a female doctor (spoiler alert: gender issues), Doctor Jean Van Helsing (Laura Michele Erle), is enlisted to hunt down this monstrous threat after a mysterious blood illness strikes down Lucy. The pompous Dr. Westfeldt (Chris King), father of Lucy and Mina Westfeldt, runs a creepy insane asylum and introduces more misogyny into the plot. Played by a female actor in drag, this “traditional man of science” mocks Victorian sensibilities and gender politics, while the other characters chase down this dangerous and sexy Count Dracula in this high-camp spoof.
The production features five passionate, attention-grabbing actors cast convincingly and playing over a dozen different roles plus a creative team that hits the mark with numerous costumes (Holly Osborn) and an effective, well-functioning set design (Jon Yawn), props, special effects and lighting (Amina Gilbert). Conner Paulson brings considerable talent to his role as Dracula. He sways. He thrusts. He moves in a dance-like way that exudes his sexual power. He can do things with his eye balls you never thought possible. You feel his unquenchable thirst for blood, similar metaphorically to a bad online hook-up. You are torn between running from him in terror or jumping into bed together.
Every blood type in the audience who relishes breaking old Victorian taboos will feel the warm effects of this relatively bare-bones production, full of pure innovation and creativity (on a shoestring budget) by young, passionate actors thrown on stage without the predictable, big-budget gimmicks of better-endowed theater companies. And it’s past time, as we are subjected to actual daily horrors here and abroad, for some high levity. This reimagined and timely, classic-vampire-myth-of-a-play is worth supporting and seeing.
Dracula: A Comedy of Terrors is taking place during Chicago Theater Week. It runs Through February 22, 2026.
Wednesdays/Thursdays/ Fridays/Saturdays 8:00 pm
Sundays 2:30 pm
Greenhouse Theatre Center
2257 N. Lincoln Avenue
Chicago, 60614
Tickets range from $15 -$29.
For tickets visit www.lazysusantheatreco.com
To see what others are saying, visit www.theatreinchicago.com, go to Review Round-Up and click at “”Dracula: A Comedy of Terrors”.
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