{"id":245739,"date":"2025-03-18T17:08:42","date_gmt":"2025-03-18T17:08:42","guid":{"rendered":"https:\/\/globetimeline.com\/ar\/culture\/rewrite-this-title-in-arabic-dracula-at-the-menier-epically-silly-but-not-much-bite\/"},"modified":"2025-03-18T17:08:43","modified_gmt":"2025-03-18T17:08:43","slug":"rewrite-this-title-in-arabic-dracula-at-the-menier-epically-silly-but-not-much-bite","status":"publish","type":"post","link":"https:\/\/globetimeline.com\/ar\/culture\/rewrite-this-title-in-arabic-dracula-at-the-menier-epically-silly-but-not-much-bite\/","title":{"rendered":"rewrite this title in Arabic Dracula at the Menier \u2014 epically silly but not much bite"},"content":{"rendered":"<p>Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.Here\u2019s a show that seeks a whole new meaning for the phrase \u201cbiting satire\u201d. This amiably ridiculous spoof of Bram Stoker\u2019s classic Gothic horror drew first blood in a successful off-Broadway staging in 2023. Now Dracula, A Comedy of Terrors, written by Gordon Greenberg and Steve Rosen, flutters into the diminutive Menier theatre: 90 minutes of knockabout comedy, in the style of Monty Python or Mel Brooks. A cast of five, plus wigs, hurtles through the story, mashing up Victoriana with Rocky Horror in a modern gender-bending take.\u00a0Presiding over the whole affair is James Daly\u2019s wickedly hot, pansexual vampire. His Count is toothsome and he knows it, first arriving, rock-god-style, in tight leather trousers and a black lace bolero jacket \u2014 which he soon discards, the better to reveal his rippling torso and biceps (a diet of B+ clearly works wonders). Daly finds a rich vein of comedy in his character\u2019s arrival in Victorian Whitby, swooping through a window in a swirl of cape, brandishing a Wedgwood cake stand (pastry recipe from Marie Antoinette\u2019s p\u00e2tissier) along with a glint of fang. But while he revels in Dracula\u2019s predatory slyness, there\u2019s also a streak of melancholy to him: being undead is kind of lonely, it turns out.Around him, in Greenberg\u2019s energetic staging, the remaining cast juggle puns, slapstick and comically inflated parts. Charlie Stemp brings sharp timing to the naive Jonathan Harker, here a rather prissy estate agent who finds his blood pumping when Dracula slinks on to a sofa alongside him. Safeena Ladha as his smart fianc\u00e9e Lucy (in this version, she, rather than her sister Mina, is engaged to Harker) is likewise tempted by the Count\u2019s full-blooded approaches.Sebastien Torkia, meanwhile, hams it up hugely as Mina, a sex-starved singleton in ringlets and crinolines, and as the formidable German doctor, Van Helsing. Battiest of all is Dianne Pilkington\u2019s double turn as both stuffy Dr Westfeldt (the girls\u2019 father) and one of his eccentric patients, which at one point obliges Pilkington to hurl herself out of a window and turn up dressed as the other character almost instantly \u2014 deservedly drawing a round of applause.Some of the gags are pretty anaemic and there\u2019s little in the way of substance to sink your teeth into. A moral of sorts about selflessness and living your life to the full only surfaces briefly, and it never feels as if there is much at stake. Best, perhaps, not to reflect too deeply but just to roll with the epic silliness of it all.\u2605\u2605\u2605\u2606\u2606To May 3, menierchocolatefactory.com<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Summarize this content to 2000 words in 6 paragraphs in Arabic Unlock the Editor\u2019s Digest for freeRoula Khalaf, Editor of the FT, selects her favourite stories in this weekly newsletter.Here\u2019s a show that seeks a whole new meaning for the phrase \u201cbiting satire\u201d. This amiably ridiculous spoof of Bram Stoker\u2019s classic Gothic horror drew first<\/p>\n","protected":false},"author":1,"featured_media":245740,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[65],"tags":[],"class_list":{"0":"post-245739","1":"post","2":"type-post","3":"status-publish","4":"format-standard","5":"has-post-thumbnail","7":"category-culture"},"_links":{"self":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/245739","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/comments?post=245739"}],"version-history":[{"count":1,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/245739\/revisions"}],"predecessor-version":[{"id":245741,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/posts\/245739\/revisions\/245741"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media\/245740"}],"wp:attachment":[{"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/media?parent=245739"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/categories?post=245739"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/globetimeline.com\/ar\/wp-json\/wp\/v2\/tags?post=245739"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}