Countess Dracula took me completely by surprise—in the best possible way. From the moment we entered the venue, clutching bulbs of garlic handed out at the door to ward off evil, it was clear this wasn’t going to be a conventional theatre experience. Clocking in at just 60 minutes, this compact yet impactful performance is the result of a collaboration between Joanna Holden and the creative collective ‘Ofthejackal’. Despite its brevity, the show packs a punch, offering a rich blend of humour, physical theatre, and social commentary.
While the title might suggest a traditional horror tale, Countess Dracula is anything but. Instead, it cleverly subverts expectations by using the Dracula mythos as a metaphorical lens through which to explore the complexities of aging, identity, and womanhood. The narrative centres around Joey (played by Joanna Holden) and Jack, a couple whose relationship is marked by an age gap—Joey being the older partner. Through their dynamic, the show delves into the emotional terrain of what it means to grow older as a woman in a society that often marginalizes mature female voices. It asks poignant questions: How do we reconcile our changing bodies with our sense of self? Where do we fit when youth is so often equated with value?
Dracula, in this context, becomes a symbol not of fear, but of transformation. The blood-sucking demon is reimagined as a metaphor for menstruation and the physical toll of Menopause. Joanna Holden’s performance is particularly striking—her mime work is expressive and evocative, conveying the monstrous and the mundane with equal skill. Along with dialogue, she manages to embody the demon in a way that is both unsettling and darkly humorous.
Audience participation is a key element of the show, and the humour is abundant. This isn’t a passive viewing experience; the performers draw the audience into their world, breaking the fourth wall and inviting us to laugh, squirm, and reflect. The use of props is inventive, often challenging the performers in ways that add to the comedic chaos. There’s a delightful physicality to the performance, with moments of quasi-contortionism and clowning that bring a sense of playfulness to even the show’s heavier themes.
Countess Dracula doesn’t shy away from adult content. Themes of sexuality, mental health, and bodily autonomy are explored with frankness and wit, and the show includes strong language. It’s definitely one for mature audiences, but it never feels gratuitous. Even the blood-sucking scenes—something I’d normally find squeamish—are handled with such theatrical flair and comic timing that they become part of the visual spectacle rather than a source of discomfort.
In short, Countess Dracula is a clever, provocative, and thoroughly entertaining piece of theatre. It challenges societal norms, celebrates female resilience, and with a garlic bulb. I left the theatre feeling amused and mindful.
Countess Dracula at Camden People’s Theatre, London runs from 29th October – 1st November 2025
Reviewer - Penny Curran
On - 30th October 2025
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