By AJ Jaffari

What happens when a centuries-old horror story is stripped down, modernized, and injected with fresh theatrical energy? SF Playhouse’s production of Kate Hamill’s Dracula reimagines the classic vampire tale with wit, tension, and a contemporary edge that feels both unexpected and invigorating. Rather than leaning solely into gothic melodrama, Hamill’s adaptation embraces humor, heightened emotion, and psychological unease, allowing the familiar story to feel startlingly new again.

Following the infamous Count Dracula and the trail of fear and obsession he leaves behind, the play explores power, desire, and survival through a sharper, more character-driven lens. SF Playhouse fully commits to the adaptation’s bold tone shifts, balancing horror and dark comedy in a way that keeps the audience consistently engaged. It’s a version of Dracula that feels less dusty Victorian novel and more living nightmare—and I genuinely appreciated that approach.

Having never seen the Kate Hamill adaptation before, I went in curious and ultimately came away very impressed. It felt refreshingly different from other versions of Dracula I’ve encountered, bringing a modern pulse to material that can sometimes feel overly familiar. While the pacing occasionally lulled for me, the story still managed to keep me invested throughout, largely because of how inventive and stylistically confident the production felt overall.

The cast across the board delivered strong performances, but a few particular standouts really stuck with me. Sharon Shao’s Mina was exceptional, balancing emotional grounding with just enough comedic relief to make the character feel layered and deeply human. Her acting throughout was superb, and she gave the production much of its heart.

Josh Schell’s Doctor George was equally memorable—frustrating in all the ways the character is intended to be, yet incredibly entertaining to watch unfold. And Stacy Ross as Renfield delivered what honestly felt like a masterclass performance. Her portrayal was manic, driven, and completely captivating. Every moment she was onstage carried a sense of unpredictability that made it nearly impossible to look away.

From a production standpoint, Jacquelyn Scott’s scenic design was one of my favorite elements of the evening. The modern aesthetic fit the adaptation beautifully while still maintaining the eerie atmosphere needed for the story. The revolve added so much to the show, I appreciated it’s use and found it very complimentary to the staging. I especially loved the staging and placement of Renfield throughout the show, which added an extra layer of visual intrigue and unease.

Scott also served as the blood specialist, collaborating with illusions and FX designer Christian Cagigal—two elements that proved to be among the most impressive aspects of the production. The practical effects and illusion work were not only technically strong but genuinely thrilling to watch unfold in real time. It added a cinematic quality to the stagecraft that elevated the horror tremendously.

All in all, this was honestly among the strongest productions I’ve seen from SF Playhouse. Fresh, unsettling, funny, and visually inventive, Dracula manages to honor the classic story while confidently carving out its own identity. Definitely worth sinking your teeth into.

Dracula, A Feminist Revenge Fantasy, Really runs through June 27 and tickets are available here.