Maria Marquis, Nima Rakhshanifar, Scott Coopwood, and Max Tachis Photo by Kevin Berne

What is it about the human condition that draws us to horrible events? Why the fascination with the likes of every possible violent trauma from train wrecks to axe murders? Some evidence suggests that times of uncertainty and angst, like now, promote interest in horror and the occult. Perhaps the attraction to blood-sucking human vampires is the idea that it is spine-tingling scary, but it couldn't really happen. It couldn't–right?

Most theatregoers will already be familiar with the basic premise of the play. The scene is turn-of-the-(20th)-century England. Apparently, Transylvanian blood has lost its appeal, and Count Dracula seeks new pastures. Dracula himself is a relatively lesser character in the narrative, as it's important first to establish his victims as people we care about before he sucks their blood and transforms them into the undead.

Thus, we have the female friendship of Mina (Maria Marquis) and Lucy (Emily Newsome) as well as Mina's intended courtship with Dr. Seward (Vincent Randazzo), who runs the insane asylum but doesn't seem to have the presence of mind to know that he's being sought by the very woman that he wishes for. We also see much of Seward's patient Renfield (Max Tachis), so extremely psychotic that he is chained and in solitary confinement.

The most important production decision for a play of this sort is the tone to be set. Many viewers will expect campiness emphasized by Count Dracula's inauthentic, but oft-repeated signature line "I vant... to suck... your blood." Let it be noted that blood sucking does occur but without quite that fanfare. Scott Coopwood's Dracula is much more reserved, with the effort to create more drama and horror than laughter, but with the result of a less dynamic character. Notwithstanding, his garish costumery and penchant for gobbling the necks of the unsuspecting does set him apart from your typical Victorian gentleman.

Acting is solid throughout, with particular kudos among the "normal" people being Marquis, who always leaves her mark. The most distinguished performance, however, is Tachis as the demented Renfield. His magnetic portrayal is totally over-the-top, from violently yanking at his chains to flushing a cascade of dark red blood from a rat into his eagerly awaiting mouth, which prompts the expected gasps from the audience.

Yet, Tachis's great portrayal causes a problem. It detracts from the tone that is sought and induces some audience members to view other events in the story as campy, producing distracting laughter where it is not wanted.

Jo Winiarski's clever and stunning staging, which is handsome in its own right, relies on a single set that uses the center as well as balconies on either wing as separate venues. With the use of Kurt Landisman's spot lighting (a small part of the outstanding creative lighting design), the action can quickly shift from a London bedroom to a lock-up in the asylum to a castle in Transylvania. These rapid shifts drive the tempo of the action, which makes the time sweep by. The powerful visual stage effects are accompanied by Meg Neville's excellent period costume design and James Ard's full score of surround-sound effects to complete the chilling Gothic feel of the production.

The opening night performance was well received by the audience, and almost all of the components of the production were exemplary. It makes for fantastic viewing, yet, for some who have "been there, done that," it may not offer anything new or frightening.

Dracula runs through November 1, 2026 at Mountain View Center for the Performing Arts, 500 Castro Street, Mountain View CA. For tickets and information, please visit theatreworks.org.