Imagine a spine-tingling tale of eternal longing twisted into a hilarious harmony of 80s anthems and rhythmic vocal feats – that's the enchanting yet eccentric premise of Dracapella, begging you to dive deeper into this unconventional theatrical mash-up!
If you've ever wondered about a production where the catchy title seems like the star of the show, look no further than this creation from Dan Patterson (known for his wild improv on Whose Line Is It Anyway?) and Jez Bond. It's almost as if they conjured up an a capella rendition of Bram Stoker's classic Victorian vampire novel purely to unleash a torrent of clever wordplay. For those new to the term, a capella simply means singing without any musical instruments, relying solely on human voices to create melodies and rhythms – think of it as vocal acrobatics that turn everyday sounds into symphonies. And Dracapella revels in puns, from cheeky exchanges like 'There's a supernatural force at work in Transylvania.' / 'Which is?' / 'No, not witches.' This spooky comedy adventure, filled with even more such gems, follows an immortal Romanian nobleman wrapping up his 400-year quest for true love, all set to tightly harmonized 80s power ballads and jaw-dropping beatboxing.
The beatboxing magic comes courtesy of ABH Beatbox, a talented performer from the BAC Beatbox Academy's Frankenstein production – a show that toured globally and might have planted the seed for this music-infused gothic experiment. But here's where it gets controversial – Dracapella leans into a more conventional style, a wink-and-nod entertainment that pokes fun at its own narrative tropes, opting for belly laughs over bone-chilling suspense. Critics might argue it dilutes the drama; after all, when a saga of timeless romance morphs into a playground for slapstick antics à la The Play What I Wrote, does it sacrifice the heart-pounding stakes? Take Jonathan Harker's fateful journey, for instance – instead of a dramatic train ride to Dover, he's whisked away on a mundane replacement bus, and Dracula's otherworldly might is hilariously demonstrated when his minion 'magically' devours a pile of marshmallows. And this is the part most people miss – while it might seem to soften the vampire's edge, the show's unapologetic absurdity from Patterson and Bond more than makes up for it, delivering a sugary treat of comedy.
Occasionally, the humor comes across as a bit forced, slowing the narrative momentum and making some moments feel like detours rather than progress. Certain tunes, such as Gnarls Barkley's 'Crazy' belted out by Harker's unhinged predecessor, can seem more like entertaining side quests than essential plot advancements. Yet, more often than not, the energetic ensemble – featuring comedian Ciarán Dowd, known for his bizarre stage antics like a black leather bondage dog costume, and versatile performer Philip Pope – brings boundless energy. Their clever wordplay, such as 'Never die? I could live with that,' and self-aware theatrical nods keep things delightfully engaging. The soundtrack, featuring lush arrangements of hits by Cyndi Lauper, Bonnie Tyler, and Survivor, feels gloriously out of place yet irresistibly fun, adding a layer of nostalgic irony to the gothic chaos.
Special shout-outs go to Keala Settle, the powerhouse vocalist from The Greatest Showman and Sister Act, who delivers a soul-stirring performance of 'At Last' as she croons to the Count, and to ABH Beatbox, whose Looney Tunes-inspired sound effects weave an immersive, interactive auditory landscape that elevates the whole ghoulish spectacle. It's a reminder of how creativity can transform familiar horror into something whimsically unforgettable.
But let's stir the pot a bit – is prioritizing comedy over chills the right move for a vampire story, or does it risk turning a timeless classic into mere fluff? What do you think: Does Dracapella succeed in blending laughs and love, or does it bite off more than it can chew? Share your takes in the comments – agree, disagree, or offer your own twist on this musical monstrosity!
