DRAGCULA: A Parody in Living Greyscale

DRAGCULA: A Parody in Living Greyscale

Adapted by Chris Steele from Bram Stoker’s Dracula

Poltergeist Theatre Project, Potatoes Mashed Comedy & Oasis Arts

The 1897 Gothic horror novel Dracula by Irish author Bram Stoker not only is now considered one of the great classics of English literature, the Transylvanian tale of vampires, blood, and sexual suggestions by the dozens has been adapted into reportedly more than 700 films, plays, television shows, video games, and animated features.  But of all those, my guess there has never been one quite like that of the latest adaptation by Chris Steele now on the stage at San Francisco’s Oasis as a joint production by Poltergeist Theatre Project, Potatoes Mashed Comedy & Oasis Arts.

DRAGCULA: A Parody in Living Greyscale is a tour de force retelling of the famous tale, celebrating the Queer subtext of the original in full drag fashion (and fashions) while also calling upon the nearby SoMa Historic Leather District for inspiration.  Presented as a live, black-and-white film of the early ‘30s (with required splashes of red glare of eyes or spurt of blood here and there), DRAGCULA is fun, funny, and fabulous for its entire two hours, fifteen minutes (with intermission).

Beyond its highly talented cast, DRAGCULA is a must-see for drag enthusiasts and horror fans alike (and anyone who likes over-the-top parody that is packed with sophisticated, intelligent yet hilariously X-rated writing) due to the incredible efforts of its Creative Team.  Tuesday Gloom’s costumes are a greyscale wonder, with reams of taffeta, suits of tuxedo grandeur, and a Count’s cape that literally engulfs the stage (and its victims).  The lighting by Nic Candito dulls perfectly the black, white, and greys of the principals and the movie-like settings while also suddenly putting into full light the scenes of sudden shock, blood, or sexual/sucking encounter.

Sound effects play a huge role in the telling, from the haunting cries of blood-hungry wolves to howling winds to laugh-out-loud musical chords/notes reacting to a comment; all are and many more are designed by Edna Mira Raia.  The props of Matthew Smith and the scene-setting projections (resembling those from the movies of old) by Chris Steele complete the credits deserving much applause.

But one credit is missing in the press release.  The absolute phenomenon of the production is the make-up of each actor.  Ghostly white and ashen-hued skin tones, lines of black erupting from eyes, cheeks puffed and swollen, tongues red, and so many other touches add to the delightfully gruesome, gory looks of all.  Kudos probably goes to each of the drag actors themselves.

Chris Steele’s clever adaptation and astute (and appropriately demented) direction of DRAGCULA overall authentically recounts the entire story by Stoker, from naïve John Harker’s trip to Count Dracula’s castle in Transylvania to bring him legal papers to sign for the Count’s new property in London, to the three dead brides attempting to seduce Harker (Chester Vanderbox aka Nic Sommerfeld) with their fangs, to the trip back to London on ship carrying Dracula (Mudd the TwoSpirit) in his earth-filled coffin, and so on.  There are the introductions of Harker’s fiancé, Mina Seward (Polly Amber Ross aka Chris Steele), her best friend Lucy Western (Vanilla Meringue), and Dr. Seward (Mina’s father, played by Leggy Pee), with the two women soon the desired focus of their newly arrived and exotic friend, the Count.

Dr. Seward’s sanitarium (which happens to be next to the Count’s new property in London) is the home of a deranged, spider-eating Renfield (Tater Tott aka Edna Mira Raia, who is under constant fear yet in desirous attraction of his lord and master by night, Dracula whom he usually calls “Daddy”).  The sanitarium is also the workplace of the hysterical and often near-scene-stealing Nurse Mary (Redd Fafilth).  The eventual savior of Mina’s life and Lucy’s soul is Professor Van Helsing (KaiKai Bee Michaels) who knows a bite on the neck when he sees one (and who comes with a supply of crosses, garlic, and wolfsbane to ward off the Count’s evils).

The adaptation omits some original principals and makes other changes to fit this staging; but overall for someone unfamiliar with the story, this rendering provides all the basics … and so many more delicious, delectable (and yes dirty) details.

This being a drag-in-every-respect rendition of Dracula, of course there are plenty of lip-sung, dramatically posed and danced numbers; and many of those are the real highlights of the evening.  Featuring goth and rocks hits largely from the 1980s, DRAGCULA comes to full life as each principal has at least one chance to shine, with the lyrics of the chosen songs so wonderfully fitting into the scene as if they were actually written as an original song for this production.

Three dancing, dead wives of Dracula emerge from their coffins to flap their red tongues and lip-sing and dance The Bangles’ “Hazy Shades of Winter,” leaving us in stitches as they sing, “Time, time, time, see what’s become of me.”

Mudd the Two Spirit’s Count Dracula is a spectacle of humor and horror each time the demon appears on stage, lip-singing at one point INXS’ “I’m Lonely” with lines that only a blood-thirsty vampire could sing:

“I need you tonight,

‘Cause I’m lonely tonight.

There’s somethin’ about you, girl,

That makes me sweat.”

Scenes later, Dracula enters the open window of Lucy’s bedroom carrying a 1930’s style radio above his head, absolutely bringing the house down as the Vampire King with silent-film drama moves sings to his desired, soon-to-be-new-bride Peter Gabriel’s “In Your Eyes”:

“I see the light and the heat,

I want to be that complete,

I want to touch the light,

The heat I see in your eyes.”

Writing in her diary about the loss of her friend Lucy (whose blood-deprived body has now been discovered), Mina begins to show her hots for that devilish monster, the Count, as Polly Amber Ross commands the stage in her wonderfully overblown, overdone in full drag fashion, Bonnie Taylor’s “Total Eclipse of the Heart.”

“Every now and then I get a little terrified,

And then I see the look in your eyes …

… I need you now tonight,

I need you now more than ever,

And if you only hold me tight,

We’ll be holding on forever.”

These are just some examples of such well-placed numbers that fulfill both the drag queen/king requirements of a production like DRAGCULA while also being lyrics that so powerfully, richly, and hilariously fit the story.  They are just some examples of the brilliant adaptation by Chris Steele.

Much could be said of each actor’s time on stage.  There are moments right out of a Marx Brothers comedy; scenes reminiscent of the famous Bela Lugosi, 1931 film; and as has been said, plenty of stardom moments worthy of any night of Oasis’ internationally known drag shows.  The one character that unfortunately on opening night repeatedly did not measure up to the others’ performances was that of Professor Van Helsing.  Too often lines rendered (spoken and lip-sung) seemed hesitant, a few seconds delayed, or just missing the needed emphasis of the moment.  But those were only a few, less-successful minutes in a production that overall was masterfully presented from beginning to end.

DRAGCULA: A Parody in Living Greyscale is the latest in a long line of stage-winning parodies produced at D’Arcy’ Dolliger’s Oasis.  This one is surely one of the best yet and is not to be missed.

Rating: 4.5 E

A Theatre Eddys Best Bet Production

DRAGCULA: A Parody in Living Greyscale will continue Thursday – Saturday, 7 p.m. through February 1, 2025, in production by Poltergeist Theatre Project, Potatoes Mashed Comedy & Oasis Arts at San Francisco Oasis 298 11th St, San Francisco, CA 94103.  Tickets are available  sfoasis.com.

Photo Credits: Kayleigh Shawn Photography and Tiiu Rebane