We take a look at what is being said about the comedy written by Dan Patterson and Jez Bond.
Broadway World: ** “One of the few saving graces here is the cast, whose exuberance papers over the cracks in the material. A recurring device is the potent combination of sound effects and mime work – cranking a rusty lift, spraying insect repellent and so on – and the cast, along with beatboxer Hackett and sound designer Niamh Gaffney, all shine when given a concept to bring to life in physical theatre.”
The Guardian: **** “But more often, the spirited cast (including comedian Ciarán Dowd and comedy all-rounder Philip Pope), restless wordplay (“Never die? I could live with that”) and meta-theatrical smarts are a joy, and the songs (Cyndi Lauper, Bonnie Tyler, Survivor) sumptuously arranged and winningly incongruous. Props in particular to Keala Settle, packing vocal punch as she serenades Dracula with the soul number At Last. And to ABH Beatbox, whose Looney Tunes effects create a vivid interactive sound world for all this ghoulish good fun.”
Everything Theatre: **** “This wouldn’t work if either the singing or the acting was bad. They are both brilliant. It’s hard to single out a performer in this small but very tight ensemble cast. Kudos to the acting of Ciaran Dowd who switches between three roles – a very entertaining Sinister (Dracula’s sidekick servant), van Helsing (verging on the manic), and Mr Watson (Lucy’s lecherous manservant). Stephen Ashfield as Harker, and Lorna Want as Mina are also excellent, both in terms of acting and singing. Keala Settle as Lucy (the actual bearded lady in the film The Greatest Showman, musical fans) is really funny, and an exceptional singer.”
The Stage: ** “Musical parody of Bram Stoker’s gothic novel is tedious even for silly season.”
WhatsOnStage: ***** “Ian Oakley’s musical direction and vocal arrangements should be applauded. There’s also an interesting addition in the form of ABH Beatbox (Alexander Belgarion Hackett), a permanent fixture on stage, who adds a fascinating level of creativity to this madcap comedy production.”
Theatre Weekly: **** “If double entendres, puns and audience participation are not your thing, be duly warned (and pick your seat carefully). If on the other hand that is your bread and butter, you are sure to think Dracapella is bloody brilliant. (Geddit? Sorry.)”
Time Out: **** “Settle gives the show-stopper with her roof-raising rendition of Etta James’ ‘At Last’ (sung while Lucy obliviously blinds a transmogrified Dracula with mosquito spray), but the scene-stealer is often Ciarán Dowd, breathlessly fun in multiple roles, including an accent-torturing Van Helsing. He’s ably abetted by Monique Ash-Turner (SIX) and Philip Pope. Meanwhile, beatboxing extraordinaire Alex Hackett is the show’s pulse. “
A Young(ish) Perspective: **** 1/2 “Dracapella feels tailor-made for a lively Friday night audience. It is joyous entertainment, perfect for families, friends, date nights, or solo theatre-goers. The cast and crew are wonderful, and the enthusiastic atmosphere created by the audience only amplifies the show’s infectious fun.”
The Reviews Hub: **** “Dracapella is a witty, full-throttle piece that largely keeps pace with its rapid-fire delivery. Though a little repetitive by the conclusion, the energetic cast works hard to deliver a fun, unapologetically daft, farcical take on the iconic novel.”
London Theatre 1: **** “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.”
All That Dazzles: **** “Good squeaky-clean fun is the order of the night, but a few rougher edges – a darker Dracula, a braver playlist, a stricter edit on the skit count – could elevate it from merry to legendary. Still, Dracapella is hysterical in both senses: laughter that borders on delirium and a tone that refuses to take itself too seriously. It’s a fast, fang-filled treat that’s thoroughly moreish.”
The Spy in the Stalls: **** “Jez Bond directs with a schoolmaster’s diligence (come on – we’ve got to get through this story before the bell), while still allowing his charges to have the best time ever.”
Musical Theatre Review: **** “With a standard band, Dracapella would be a reasonably fun comedy musical take on one of the world’s most reversed Gothic horrors. As an a cappella musical, it has just enough originality to become a great and popular work with a life far beyond this Christmas season.”
Dracapella continues to play at the Park Theatre until the 17th January 2026.