Go behind the scenes with Director Matt Radford Davies as he reveals his creative approach to Dracula: A Comedy of Terrors at the American Shakespeare Center (ASC). In this interview, Matt shares the joys and challenges of bringing a horror-comedy to life, balancing humor with suspense, and creating an immersive experience that draws the audience into Dracula’s world in ASC’s uniquely intimate setting.
Meet the Director: Matt Radford Davies
Meet Matt Radford Davies, the creative force behind this season’s Dracula: A Comedy of Terrors at the American Shakespeare Center. With a rich background in both Shakespearean and modern theatre, Matt brings a fresh, dynamic vision to every production. ASC audiences will remember his directorial work on Love’s Labour’s Lost and his memorable roles in Othello and Twelfth Night. From performances in Cincinnati to Prague and roles on screen, Matt’s dedication to theatre is unmistakable. Dive into this interview to hear his thoughts on the magic of live theatre and his unique approach to Gordon Greenberg and Steve Rosen’s Dracula: A Comedy of Terrors.
20 Questions with Matt Radford Davies
In this Q&A, Matt Radford Davies gives us an insider’s view into his creative process, challenges, and inspirations while directing Dracula: A Comedy of Terrors at the American Shakespeare Center. From the unique demands of blending horror with comedy to the magic of ASC’s intimate Blackfriars Playhouse, Matt’s insights offer a fascinating glimpse into the world of live theatre.
Hey Matt, are you ready for some questions?
If that’s the first question, yes.
What does a theatre director actually do, especially in a live theatre setting like this?
Oh, in a live theatre setting like this, I mean, listens more than anything, brings various elements together, the concept, explains it to the cast, explains it to the production team, the design team, and just makes sure that the whole thing is working properly, you know? So, less actual directing, more kind of advocating, I’d say.
How would you describe the experience of directing Dracula: A Comedy of Terrors?
A lot of fun. It is what we call a small scale. There are six actors, five actors in the cast, and one Foley artist, so it’s all a collaboration. We all just jump in together and figure it out. You can’t bring in the whole idea with you when you come because they’re playing lots of different characters and they’ve got to figure that out.
Live theatre is something special. In your opinion, what makes it so impactful?
The collaboration of the audience, right? An audience in this theatre in particular, which has got universal lighting, they are a part of the whole production. Without them, it doesn’t exist. And of course, once it’s happened, it will never happen in the same way again.
What’s one of your favorite memories from working on Dracula: A Comedy of Terrors so far?
One of my favorite memories is one of the actors was having a difficult time. It was very challenging for her as one of three people playing multiple characters, and the other two actors had to help out as part of the process with an item of clothing. It was very complicated, and I thought that I was really upsetting her, and she was about to burst into tears. But at the end of rehearsal, she said, “I wish I had more time because I’m really enjoying this.” So that was nice.
How do you balance the horror and humor in Dracula because it’s a fine line?
It’s a comedy. We try to tell the truth of the story, the truth of the characters, and not just make them ciphers for comedy. When you do that, you find there’s some horror—not screamy horror but more like uncertainty and discomfort. It’s that kind of gothic horror.
Tell us about your daily routine in the heat of a production. What does your typical day look like?
I also teach Shakespeare, so it looks very busy. When you’re directing a show or acting in a show, you’re basically doing double duty. The first half of the day, I’m prepping classes, then I go in for rehearsals, and then I go and prep classes.
Why do you think Dracula remains such a timeless character?
Because he outrages conventions, and whichever era he’s in, it doesn’t really matter.
Is there a scene in this production you’re particularly excited for audiences to see?
There are a number of scenes we had to figure out because we don’t have a lot of tech. For example, how bats fly in and out of our production. There are various ways in which it’s done, and I think they’re all fun in their own way.
What’s one quality every theatre director needs to succeed?
Humility.
This is one for the fans: How does directing Dracula: A Comedy of Terrors at ASC feel different from working on Shakespeare?
Oh, right, sure. I mean, there’s a whole part of the process you remove, which is table work. The table work is to figure out the language and get everybody on the same page. Here, we can just jump straight in because the language is not complicated—it’s a play written just a couple of years ago. On the flip side, there’s a lot of staging to do, so we just got in and started working.
What do your rehearsals look like for Dracula: A Comedy of Terrors?
I come in with a simple setup, like “That’s the entrance, that’s the exit to Dracula’s castle, that way is where the farmers market is,” which we’re always joking about. Then I let them do organic blocking, let them figure it out and move, and I act as the eyes and ears, giving them feedback on what’s working and what isn’t.
What’s your advice for aspiring directors out there?
Make theatre.
If you could direct any play with no budget limits, what would it be?
Oh gosh, either Noises Off or Boeing Boeing. I love comedies; I like directing comedy.
Why do you think Dracula continues to captivate audiences?
I think it continues to captivate audiences because that character never goes out of fashion. He’s 800 years old, and you can put him in different situations. For example, you could say he’s a guy going through a late-life crisis.
How does ASC’s intimate setting change the feel of a classic like Dracula?
It puts the audience right there, in amongst the story. They get to feel the fangs.
Have you ever had a production that completely surprised you?
The first Shakespeare I directed was Venus and Adonis, which is an epic poem and surprised everyone. But my first full-length Shakespeare was Much Ado About Nothing, and I thought it was a great choice because, as the title suggests, there’s not a lot about anything. But in fact, it turns out it’s really busy.
What’s the difference between directing a horror-comedy and a tragedy like Macbeth?
I don’t know if there’s a huge difference. People talk about timing in comedy and tragedy, but I think tragedy is about feeling the audience. It’s all about feeling the audience, so I don’t think there’s a big difference. We didn’t treat this play that differently just because it’s a comedy version.
How has teaching influenced your directing style?
I’ve encountered a lot of other directors’ approaches because I teach directing, and most directors never encounter other directors. That’s one of the challenges of being a director—actors work with other actors, but directors don’t often work with other directors.
Do directors really have the final say in theatre?
Good Lord, no. Actors have the final say, which is why you should never make an actor do something they don’t want to do because they’ll just change it when they get on stage. And, of course, the producer can change anything you do, so no, nor should we have the final say.
Any last words to get us excited about Dracula: A Comedy of Terrors at the Blackfriars?
Somebody said after one of the early performances, “This is the best Shakespeare they’ve ever seen,” so it feels like we’ve discovered a long-lost Shakespeare play. That’s got to be a good reason to go, right?
INTERVIEWER: Absolutely. Thanks so much, Matt, for giving us an inside look at your process and the magic you bring to Dracula: A Comedy of Terrors. We can’t wait to see it all come to life on stage. Break legs!
Thank you.
As Matt’s reflections reveal, Dracula: A Comedy of Terrors is more than a performance; it’s an experience that pulls audiences into the heart of the story. With humor, suspense, and ASC’s immersive staging, this production promises a night of unforgettable theatre. Join us at the Blackfriars Playhouse to witness Dracula as you’ve never seen him before—up close, thrilling, and ready to entertain!
About the American Shakespeare Center
At the American Shakespeare Center’s Blackfriars Playhouse, theatre becomes an immersive journey. Located in Staunton, Virginia, ASC is home to the world’s first re-creation of Shakespeare’s indoor theatre, where classic stories come alive in an intimate, engaging setting.
Whether you’re here for a timeless drama, a playful comedy, or an innovative adaptation like Dracula: A Comedy of Terrors, ASC’s productions invite audiences to feel part of the performance. Join us in celebrating live theatre and discover why the Blackfriars Playhouse is a destination for both longtime fans and new theatre-goers alike.