For more than 125 years, Bram Stoker’s legendary vampire tale, Dracula, has been retold through numerous stage and film adaptations. From the 1931 Universal Studios horror film masterpiece to the 2012 Sony Pictures children’s animated movie, Hotel Transylvania, this fabled story has thrilled generations. Dracula: A Comedy of Terrors, the latest incarnation of Stoker’s mainstay, debuted off-Broadway in 2023 to critical acclaim. This comedy by Gordon Greenberg and Steve Rosen is a farcical take on the classic novel, featuring raucous comedy in the style of Mel Brooks and Monty Python. Dracula: A Comedy of Terrors can currently be seen onstage at the Colonial Players, and it’s a bloody good show!

As the play begins, we meet English real estate agent Jonathan Harker, who travels to Count Dracula’s remote Transylvanian castle to assist with his upcoming move to England. During their meeting, Dracula sees a picture of Jonathan’s fiancée, Lucy Westfeldt, and mistakenly believes she is his long-lost love. Dracula is smitten with Lucy and relentlessly pursues her when he arrives in England. Concurrently, Lucy’s sister, Mina, is stricken with a mysterious blood disease, and it is suspected that Dracula might have caused this. Lucy and Jonathan decide to hire the famed vampire hunter Dr. Jean Van Helsing to kill Dracula and stop his macabre mission, and hilarity ensues along the way.

Ron Giddings’ portrayal of Count Dracula was sensational, and his spectacular presentation was mesmerizing. His magnetic stage presence and commanding demeanor perfectly matched the role, and he exuded unrelenting confidence. Giddings delivered his lines with a flawless Transylvanian accent, and his articulation and diction were outstanding. Jason Vellon’s marvelous performance as Jonathan was marked by his extraordinary ability to convey vastly different emotions in seconds, most notably when his character instantly transitioned from businesslike to frantic when dealing with Count Dracula’s antics. Vellon was hilarious while overcoming his differences with Dracula, and his physical comedy in a bumpy carriage ride scene was delightfully amusing. This gifted performer additionally played Lord Cavendish, Lord Worthington, and Lord Havemercy (all at the same time!) while seamlessly transitioning among “character” voices. This routine was comedic gold.

Melanie Gordon, as Lucy, impressively maintained a steady British accent for the entire production, and she colorfully expressed every emotion from stunned shock at Dracula’s romantic advances to heartfelt caring during her sister’s illness. Gordon also played Kitty Rutherford (the Westfelds’ housekeeper) with a cackling delivery that ideally illustrated her evil temperament. Eric Lund remarkably portrayed both Mina and Dr. Van Helsing, excelling in both roles and demonstrating extraordinary versatility. As Mina, Lund was tremendously entertaining, executing pratfalls and slapstick that elicited side-splitting laughter. In a complete 360, Lund played Dr. Van Helsing with a scholarly and determined spirit, effortlessly communicating intelligence. Shannon Benil portrayed Lucy and Mina’s father, Dr. Wallace Westfeldt, with a dignified disposition, heartwarmingly relaying the character’s concern for his family. She additionally played Dracula’s assistant, Renfield, with a frenetic and frazzled disposition, and her whirlwind argument scene (where she instantaneously switched between both characters!) was warmly received.

Debbie Barber-Eaton’s ingenious direction brilliantly staged the play in the Colonial Players’ intimate in-the-round house, and she effectively utilized every inch of the 180-seat space. Oftentimes, actors directly engaged with audience members and entered/exited through the aisles, placing theatregoers directly in the center of the action. Christina R. McAlpine’s ornate costumes displayed ominous hooded cloaks, elaborate period dresses, and, of course, Dracula’s iconic black cape. Lighting and Sound Designer Dudley Whitney created detailed fog and strobe-light illusions that deeply enhanced the play’s ominous mood. Puppet Maker J.B. McLendon inventively created props from foam and paper-mâché, and Constance Robinson’s illuminated wolf masks were visually stunning.

The Colonial Players have created a frightfully entertaining Halloween treat for audiences as this historic organization continues its 77th season with a modern take on a creepy classic. Dracula: A Comedy of Terrors is the perfect fall outing, and this splendid production is well worth the trip to downtown Annapolis. The clever wordplay (complete with local humor!) is guaranteed to elicit monstrous laughs, and this show is a wonderful opportunity to experience Stoker’s illustrious story through a whole new lens. 

Running Time: One hour and 35 minutes, no intermission

Dracula: A Comedy of Terrors plays through November 15, 2025, at Colonial Players of Annapolis – 108 East Street, Annapolis, MD. Tickets ($23–$28) can be purchased online, in person at the Colonial Players box office, or by calling 410-268-7373.

A virtual playbill is available here.

Content advisory: This play features comedic horror, sexual innuendo, stylized violence, and some jump scares/loud effects. Mild to moderate language. Strobe lights and fog effects are also used in the production.

Dracula: A Comedy of Terrors
Written by Gordon Greenberg and Steve Rosen
Directed by Debbie Barber-Eaton

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Eric Carle’s treasured stories have long been a mainstay in family libraries, and these cherished tales have charmed generations of children. At Imagination Stage, Carle’s tales are being illustrated onstage in The Very Hungry Caterpillar Show (created by Jonathan Rockefeller), which brings four of the author’s most famous books to life. In addition to the eponymous story, The Very Hungry Caterpillar Show also includes renderings of Brown Bear, Brown Bear; The Very Lonely Firefly; and 10 Little Rubber Ducks. Featuring 75 wondrous puppets, bouncy original music, and a trio of talented puppeteers and storytellers, this whimsical production is an ideal family outing that is a phenomenal kickoff for the organization’s 2025/26 season.

The storytelling puppeteer trio of Carl L. Williams, Mollie Greenberg, and Cristina Sanchez gave vibrant performances. They flawlessly executed the movement styles of each character, from the lumbering brown bear to the flitty illuminated firefly. Williams, Greenberg, and Sanchez narrated the text with contagious enthusiasm as they perfectly matched their tone to each animal while conveying emotions from boundless joy to impending danger. This ensemble was friendly and engaging when interacting with the hundreds of captivated children in the audience, effortlessly holding their attention from beginning to end.

Nikki Mirza’s magnificent direction vividly personified Carle’s works, and her immersive staging creatively brought the story into the crowd. This presentation was warmly received by the audience, who energetically reacted when puppets passed alongside their seats as they moved through the aisles. Rockefeller Productions excelled in creating the play’s 75 exquisitely intricate puppets, which portrayed Carle’s characters with extraordinary attention to detail. These ingenious creations were essential in allowing the characters to leap off the pages of the books, effectively personifying them onstage. These genius artists also manufactured props from everyday items that colorfully detailed the settings, as she utilized flowing blue cloth to imitate ocean waves and cardboard boxes to form the structure for various modes of transportation.

Puppet Coach Matthew Pauli skillfully trained the cast in operating the puppets, and his expertise was reflected in the performers’ smooth and flowing styles when working with complex apparatuses of varying size and structure. Much to the delight of the crowd, Helen García-Alton’s dazzling lighting design displayed kaleidoscopic polka dots, a smiling moon, and glimmering fireworks. The audience responded with rousing applause to her sparkling disco ball sequence as the caterpillar transformed into a gorgeous butterfly in this magical scene. Ian Vespermann’s well-balanced sound design allowed the dialogue and music to fill the room in blended harmony, with these elements never overpowering one another. His sound effects contributed to a unique multi-sensory experience, and his audio crisply depicted the caterpillar’s zealous crunch as well as the whale’s moaning bellow.

The Very Hungry Caterpillar Show is a theatrical masterpiece that brilliantly combines artistic mediums to create an unforgettable literary journey. Returning to Imagination Stage by popular demand after a triumphant run in 2023, this production is well worth the two-year wait for area audiences to enjoy it once again. Those who make the journey to this charming Bethesda venue will be thrilled to see these legendary works come alive. For the youngest attendees, the stories are a brilliant educational tool for learning about sounds, colors, animals, and a myriad of senses. This show is sure to warm the hearts of children (regardless of their being familiar with Carle’s work), as well as adults who are likely to carry fond memories of reading these beloved books to their children or even grandchildren. Audiences will be “still hungry” long after the final bow concludes.

Running Time: 45 minutes, no intermission.

The Very Hungry Caterpillar Show plays weekday and weekend matinees through October 12, 2025, at Imagination Stage, 4908 Auburn Ave, Bethesda, MD. Tickets (starting at $15, with dynamic pricing for more popular dates) can be purchased online, in person at Imagination Stage’s box office, or by calling the box office at 301-280-1660.

Best for ages 2 to 6.

COVID Safety: Masks are optional.

The Very Hungry Caterpillar Show
Based on Eric Carle’s books
Created by Jonathan Rockefeller
Directed by Nikki Mirza

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The name of Shakespeare’s revered A Midsummer Night’s Dream conjures up images of fairies, magic, enchantment, and fantasy. Synetic Theater’s wordless rendition of this classic play wondrously brings these visions to life, ingeniously conveying the timeless story solely through movement and original music, showcasing a soaring score by resident composer Konstantine Lortkipanidze. Spectacularly directed by Paata Tsikurishvili (who, with Ben Cunis, also created the adaptation), Synetic’s unique version of this Shakespearean classic is a visual feast that continues to amaze audiences more than 15 years after its debut.

Set in Athens, A Midsummer Night’s Dream tells several stories of events surrounding the marriage of Theseus (Duke of Athens) and Hippolyta (Queen of the Amazons). The first involves a conflict among four lovers: Hermia, Lysander, Demetrius, and Helena. While Lysander and Hermia are in love, Hermia is being pursued by Demetrius, who broke up with Helena to be with her. Meanwhile, Helena is trying to reclaim Demetrius’ heart, and she faces unrequited love from him along the way.

Amid this quarrel, The Mechanicals, a troupe of players led by Quince, a carpenter, and Bottom, a weaver, are rehearsing a production of Pyramus and Thisbe to be performed at Theseus and Hippolyta’s wedding. The Mechanicals and the four lovers find themselves engrossed in the woodland home of the fairies, led by Fairy King Oberon and Queen Titania. Oberon’s jester, Puck, causes mischief throughout the play, significantly influencing the course of events through his pranks and antics.

Tony Amante (Lysander), Irinka Kavsadze (Hermia), Camille Pivetta (Helena), and Jacob Thompson (Demetrius) each gave riveting performances. The quartet expertly conveyed the tug-of-war among the lovers through thrilling fight illustrations and intense countenances, demonstrating extraordinary dramatic finesse. Amante presented a powerful acrobatic routine in which he literally ran through walls, impressively executed with split-second timing and precision. Rachael Small (Titania) and Philip Fletcher (Oberon) each carried themselves with a regal stage presence, and this duo truly embodied their roles through their stately mannerisms.

Puck was vivaciously played by Stella Bunch, who exhibited astonishing gymnastics and perfectly expressed the character’s mischief through her animated demeanor. Vato Tsikurishvili’s characterization of Quince was particularly noteworthy, and his hilarious facial expressions and physical comedy elicited explosive laughter from the audience throughout his sketches. The Mechanicals were enthusiastically portrayed by Irakli Kavsadze (Bottom), Kaitlyn Shifflett (Flute), Chris Galindo (Snug), Lev Belolipetski (Snout), Aaron Kan (Verges), and Konstantine Lortkipanidze (Starveling). This gifted ensemble displayed flawless comedic timing, and their slapstick antics were exceptionally entertaining.

Irina Tsikurishvili’s elaborate choreography contributed tremendously to the success of the show’s silent storytelling, and her sequences encompassed circus arts, ballet, contemporary, and a multiplicity of other dance styles. Tsikurishvili’s opening sequence, staged in total darkness and illuminated only by tiny light bulbs held by the fairies, was visually stunning, and this introduction to the world of the fairies was artistically brilliant. Anastasia Rurikov Simes exquisitely designed the lavish costumes, which depicted glittering fairy outfits, flowing wedding gowns, and ornate royal regalia. Rurikov Simes also created the sets for the show, and her splendid conception of the moon as both a glowing and three-dimensional set piece was a highlight.

Synetic Theater’s staging of A Midsummer Night’s Dream is a theatrical marvel in every sense. Since there is no dialogue, it is strongly recommended that those who are unfamiliar with the plot read a summary of the play ahead of time. The company’s trademark nonverbal presentation emphasizes the fact that theater is a universal language. This one-of-a-kind experience is well worth the trip to Olney Theatre Center. Patrons are sure to be enthralled by this inventive and unforgettable journey.

Running Time: Approximately one hour and 40 minutes with no intermission.

A Midsummer Night’s Dream plays through August 10, 2025, presented by Synetic Theater performing on the Roberts Mainstage at Olney Theatre Center, 2001 Olney-Sandy Spring Road, Olney, MD. Tickets ($41–$101) can be purchased online, by calling the box office at 301-924-3400, or at TodayTix. Discounts for students, seniors, military, veterans, first responders, and educators are available here. Regular performances are Wednesdays through Saturdays evenings at 7:30 pm; Wednesday, Saturday, and Sunday matinees at 1:30 pm.

A digital program is online here and a synopsis is downloadable here.

The cast and creative credits are here (scroll down).

A Midsummer Night’s Dream
By William Shakespeare
Adapted by Ben Cunis and Paata Tsikurishvili
Directed by Paata Tsikurishvili
Choreographed by Irina Tsikurishvili

CAST
Stella Bunch (Puck), Rachel Small (Titania), Philip Fletcher (Oberon), Kim-Anh Nguyen (Hippolyta), Chris Galindo (Theseus/Snug), Camille Pivetta (Helena), Jacob Thomson (Demetrius), Tony Amante (Lysander), Irinka Kavsadze (Hermia), Emma Ruckh (Peaseblossom), Kaitlyn Shifflett (Flute/Fairy), Irakli Kavsadze (Bottom/Egeus), Koki Lortkipanidze (Starveling), Vato Tsikurishvili (Quince), Lev Belolipetski (Snout), and Aaron Kan (Verges).

CREATIVE TEAM
Koki Lortkipanidze (Original Music and Sound Design), Anastasia Rurikov Simes (Original Set, Costumes, and Properties Design), Andrew Griffin (Lighting Design), Channing Tucker (Associate Costume Designer), and Dean Leong (Associate Lighting Designer).

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Renowned playwright George Bernard Shaw once said, “Imagination is the beginning of creation.” That quote could not be more relevant to the current production of Dory Fantasmagory at Imagination Stage, which is splendidly directed by Kathryn Chase Bryer (with music direction by Deborah Jacobson). This charming play features uproarious comedy, dynamic characters, and innovative visuals, creating a delightfully interactive theatrical experience. Based on Abby Hanlon’s popular book of the same name, this whimsical stage adaptation by John Glore (with music by Deborah Wicks La Puma) is the perfect introduction to the performing arts for young audiences.

Dory Fantasmagory tells the tale of the eponymous six-year-old girl, whose picturesque imagination takes her on wild adventures and helps her cope with life’s challenges. As the youngest of three children, Dory faces rejection from her older siblings, Violet and Luke, who put a damper on her creativity and refuse to play with her. Dory’s imagination fosters numerous fanciful pals and enemies, including a friendly monster named Mary, an eccentric fairy godmother named Mr. Nuggy, and an evil villain named Mrs. Gobble Gracker, whose mission is to capture Dory and claim her as her own baby. Dory is forced to evade her to avoid falling victim to her callous scheme. Mary and Mr. Nuggy come together to protect Dory from Mrs. Gobble Gracker and, most importantly, help Dory win attention from her family. Along the way, the trio is led on a quest, filled with hairpin twists and turns.

In the title role of Dory, Victoria Gómez gave an effervescent performance. A gifted actress, she vibrantly expressed joy when playing with her imaginary friends, anger when dealing with her ignorant siblings, and courage when facing Mrs. Gobble Gracker. Her vivacious expression and enthusiasm delighted the audience, and she also exhibited a resounding singing voice when performing Dory’s theme song. Sumié Yotsukura (Violet) and Ethan J. Miller (Luke) both colorfully conveyed their discontent with Dory’s imagination, and their disgusted demeanors and mocking tone added depth to their antagonism. Miller also played Mr. Nuggy with charm and animation, delivering his lines with a jolly Scottish accent while presenting flawless comedic timing.

As Mary, Irene Hamilton warmly portrayed a protective attitude toward Dory, and her engaging audience interactions were extraordinarily entertaining. Nia Savoy-Dock’s rich characterization of Mrs. Gobble Gracker was marked by her witchy, cackling vocals and intimidating presence. Her character interpretation was sensational. She dazzled in depicting the character’s evil disposition, and her performance was very well-received. Savoy-Dock also took on the role of Dory’s firm but understanding mother, demonstrating remarkable versatility in these vastly different parts.

Alberto Segarra’s ingenious lighting design, combined with Andrew R. Cohen’s multi-dimensional set, made for a visual feast that tremendously enriched the story. Segarra’s lighting displayed illuminated characters from Dory’s imagination, as well as an opening shadow puppet sequence that was deeply heartwarming. Cohen’s ingenious rotating scenery impeccably captured the whirlwind rollercoaster that was Dory’s imagination, seamlessly transitioning between locations. Tony Thomas’ choreography incorporated lively movement sequences that enhanced the quirky mood of Dory’s imaginative world, often mimicking the playfulness and carefree nature that children demonstrate when playing make-believe.

Dory Fantasmagory at Imagination Stage vividly brings the beloved book to life and is an ideal summer outing for families. An enchanting adventure for all generations, this production fosters creativity in children and childlike wonder in adults, igniting the youthful spirit in us all. Dory’s playful outlook on the world will inspire young and old, and the lessons that this piece teaches will strongly resonate with audiences. Imagination Stage concludes its 2024/25 slate with this brilliant piece, and this show is a wonderful way to conclude their magical season.

Running Time: 65 minutes, without intermission.

Dory Fantasmagory plays weekday and weekend matinees through August 3, 2025, at Imagination Stage, 4908 Auburn Ave, Bethesda, MD. Tickets (starting at $15, with dynamic pricing for more popular dates) can be purchased online, in person at Imagination Stage’s box office, or by calling the box office at 301-280-1660.

Best for ages 4+.

COVID Safety: Masks are optional.

Dory Fantasmagory
Adapted for the stage by John Glore
Based on the book by Abby Hanlon
Music by Deborah Wicks La Puma
Directed by Kathryn Chase Bryer
Music direction by Deborah Jacobson

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