The Actors’ Shakespeare Project is presenting “Dracula: A Comedy of Terrors,” a lively and irreverent adaptation of Bram Stoker’s 1897 gothic novel, running through Nov. 1 at the Dorothy and Charles Mosesian Center for the Arts in Watertown. Directed by Christopher V. Edwards, the production offers a fast-paced, camp-infused take on the classic vampire tale, blending elements from major film adaptations alongside a sharp comedic sensibility.

Paul Melendy stars as Count Dracula, reimagined as a flamboyant and pansexual figure with a flair for leather pants and exaggerated mannerisms. This reinterpretation diverges markedly from traditional portrayals, presenting the vampire as both self-aware and somewhat restless, eager for a partner who challenges him—namely Lucy, played by Thalia Gerloff. Melendy’s energetic performance is central to the production’s high-octane atmosphere, propelling the nonstop flow of jokes and physical comedy.

The script, developed by Gordon Greenberg and Steve Rosen, debuted as a radio play in 2020 before moving off-Broadway last year. Its humor, reminiscent of Monty Python’s absurdity and Mel Brooks’ irreverence, operates through rapid-fire gags and gender-bending roles, often prioritizing volume over subtlety. While not every joke lands—some occasional references feel dated—the overall effect is a relentless, nearly 90-minute barrage of comedy that maintains audience engagement throughout.

Supporting players demonstrate notable versatility, with most actors doubling or tripling roles. Doug Lockwood performs as Mina, Lucy’s determined sister, and a commanding female Dr. Van Helsing, injecting humor through both physicality and gender play. Bobbie Steinbach takes on the parts of the stern Dr. Westfeldt and a jittery, insect-eating Renfield, drawing inspiration from earlier film interpretations rather than the more familiar depictions.

Among the production’s highlights are Zoë Sundra’s vibrant costume design, which accentuates the show’s camp and theatricality, and Mackenzie Adamick’s dynamic sound work, contributing to the comedic timing and overall atmosphere. The show combines gothic motifs—flowing capes, dramatic fangs, copious blood—with an EDM-infused soundtrack that prompts scenes of energetic dance and physicality, particularly from Nicholas Papayoanou as Jonathan Harker.

Ultimately, “Dracula: A Comedy of Terrors” embraces the eccentricity inherent in its source material and amplifies it through a queer, theatrical lens. The result is a bold, often outrageous reinterpretation that challenges conventional depictions and invites audiences to revel in the story’s inherent strangeness. Tickets range from $25 to $90, with discounts for students, and performances continue through Nov. 1.