You’ll need to be in the ‘right’ frame of mind to enjoy this – I know a few people who wouldn’t be able to tolerate the level of silliness that permeates proceedings pretty much from start to finish, and it is for that reason that I am thinking of (rather mischievously) recommending this show to those people. It’s not going to cheer them up, and they’re probably not going to go anyway, but if they did, they would at least be able to witness other people having a good time watching a show that is very much in the realm of light entertainment.
With modified lyrics to popular chart tunes to fit the narrative, such familiar songs give an initial impression that the plotline has been paused to accommodate a song and dance number, or otherwise a ballad. Not so: none of the songs has been crowbarred in, and each one advances the story. The rewording of ‘Midnight Train To Georgia’ to accommodate possibly the most dreaded phrase for users of public transport, ‘rail replacement bus’, had me in stitches. This leaves the spoken word sections of the show (which doesn’t quite know if it’s a musical comedy, a play with songs, or a jukebox musical) to be left dripping with puns, double entrendres and miscellaneous misunderstandings
I mean, if you’re looking for a telling of the Dracula story that is ‘scary’ – inverted commas mine, because it is incredibly difficult, at least in my view, to scare people in the theatre – you’re bound to be disappointed. I think it is quite glorious to see a version that makes zero attempts to frighten patrons, and theatregoers of a nervous disposition have nothing to fear. Despite such a rapid departure from the usual attempts at conjuring up a gruesome or even repulsive atmosphere, the major plot points remain intact. A solicitor, Jonathan Harker (Stephen Ashfield) goes on a business trip to Transylvania, meets Count Dracula (Ako Mitchell), discovers the Count is a vampire, and the Count goes to England and terrorises the Yorkshire seaside town, Whitby.
It does depart from the novel’s narrative arc eventually – no spoilers, of course, suffice to say the musical theatre style happy ending is just about justified. With such a stellar cast, it’s difficult to pick a standout, and arguably, Keala Settle in the role of Lucy was somewhat underused. But if Van Helsing (Ciarán Dowd) were to threaten me with being beheaded unless I picked someone, I’d have to go for ABH Beatbox, as Alex Hackett is known. Despite being largely relegated to the back of the stage, it was easy to forget there was neither a live band nor a backing track, and as the show’s title suggests, the human voice is the only musical instrument used. And ABH goes for it – on top of the driving beats to accompany the songs, there’s the tolling of the bells, the howling of the wolves, gunshots, door slams, the wind, the door slams because of the wind, and more.
The production’s pace is sometimes so brisk that the cast struggles to keep up with it, occasionally with hilarious consequences. In a show that never takes itself too seriously in the first place, however, the cast’s ad-libs provide an additional layer to the fun to be had in this surprisingly witty and enjoyable night out.
Review by Chris Omaweng
A solicitor from London.
A mysterious count from Transylvania.
An ensemble of mind-blowing vocal talents.
Full-blooded fun.
When Harker sets off to Transylvania to sell a crumbling castle to a mysterious client, he doesn’t expect to wind up in a love triangle – or is that a square? – involving his wife, her best friend, and one very melodramatic vampire.
Things spiral quickly; capes are flung, necks are bitten (accidentally), and a human beatboxer accompanies it all. Featuring a capella covers of everything from Somebody to Love to Eye of the Tiger, and more terrible puns than strictly necessary, Dracapella is a fast, funny, fang-filled festive treat.
CAST
Monique Ashe-Palmer – Pustula
Stephen Ashfield – Harker
Ciarán Dowd – Sinister, Van Helsing and others
Alexander Belgarion Hackett (ABH Beatbox)
Ako Mitchell – Dracula
Philip Pope – Holmwood, Seward and others
Keala Settle – Lucy
Lorna Want – Mina
CREATIVES
Written by Dan Patterson and Jez Bond
Directed by Jez Bond
Ian Oakley – Musical Director and Vocal Arrangements
Nichole Riffenburgh – Assistant Director
Simisola Majekodunmi – Lighting Designer
Niamh Gaffney – Sound Designer
Patrice Bowler and Giaele Mattioli – Movement Directors
DRACAPELLA
Park Theatre, Park 200
3 December 2025 to 17 January 2026
