Drac is back just in time for San Diego's spooky season at The Old Globe, in the fast-paced, campy, silly, and sexy spoof “Dracula: A Comedy of Terrors.” Dare I say, it’s a fang-tastic time at the theatre.

This 90-minute play is a comedic adaptation of Bram Stroker's classic (with edits to streamline the story). With a small but mighty and talented cast, they cover the story and a multitude of characters in this laugh out-loud re-imagining of the novel.

Photo Credit: George Krissa as Dracula and Brady Dalton Richards as Harker in *Dracula, A Comedy of Terrors*. Photo by Jim Cox.

It starts as it always does - with Harker (Brady Dalton Richards) traveling to Transylvania for work. He is a somewhat timid real estate agent traveling to sell multiple properties to Dracula (George Krissa). Instead of an elderly or infirm Count, this Dracula works out in leather pants and a lace shirt that cannot contain his abs. Upon seeing a picture of Harker’s fiance, Lucy (Gizel Jiménez), Dracula signs on the dotted line and plans to travel to London. Once there, he meets Lucy, her father, Dr. WestFeldt (Linda Mugelston), who specializes in treating the insane, and Lucy's outrageously brazen sister, Mina (Drew Droege).

From there, the story seems to try to outdo itself in zany plot twists, quick character changes, and physical comedy moments. Will adventurous Lucy stay with her timid but loving Harker, or fall in love at first bite with Dracula? Will Mina ever get the attention she so craves? Can Dracula ever be fully satiated in his pursuit of food, love, lust, and adoration?

Krissa is a hilariously self-absorbed Dracula; he is looking for a good time as he suffers what might be a mid-immortal life crisis. He forever preens, poses, and suggestively propositions those he encounters with great comedic timing.

Richards' Harker is sweetly shy and safety-prone but makes a charismatic character change later, much to Lucy's delight. He smoothly adds many physical comedy moments and other characters between Harker's adventures of trying to keep Lucy safe.

Jiménez as Lucy is the energetic and plucky horror film heroine who everyone wants to keep safe. Still, she is always looking to investigate and confront the unknown, much to the dismay of her family around her.

Photo Credit: Gizel Jiménez as Lucy and Drew Droege as Mina in *Dracula, A Comedy of Terrors*. Photo by Jim Cox.

Droege and Mugelston are incredibly funny and versatile, completing the cast and playing various characters. Besides just playing the prescribed characters, this piece has them in drag and playing characters directly commenting on Victorian social norms and politics. It seems like their every entrance and exit was accompanied by applause. To say more would pale in comparison; it is best experienced instead of described.

Directed by Gordon Greenberg (who co-wrote the play with Steve Rosen), the play moves through the plot points at an accelerated pace. With a show this joke-dense, it can’t take the time to slow down. The excellent cast keeps the energy up, as everyone also plays multiple characters, with the exception of Dracula.

The scenic design by Tijana Bjelajac turns the Globe’s White Theatre stage into a castle, a nightclub, a ballroom, and more. Rob Denton's lighting design is colorful and dynamic, and it works well with the original music, as well as Victoria Deiorio's appropriately atmospheric and comedic-enhancing sound design. Tristan Raines's costumes are clever and allow for multiple quick changes back and forth.

Not to throw garlic on this and kill the vampire vibe, but for as fast-paced and clever as it is, the final act feels like it drags a bit as it starts to suggest some actual emotional and character growth. The ending, though fun, also feels a bit unresolved. But these are quibbles and nothing to really get your cape in a twist about.

Ultimately, “Dracula: A Comedy of Terrors” leaves no tombstone unturned and sinks its teeth into delivering a thoroughly entertaining farce. (Sorry, not sorry for all of the vampire puns.)