PHOTO BY DAVID LEIDHOLT The cast of Millbrook’s ‘Dracula: A Comedy of Terrors’ is pictured above.

Who knew Transylvania could be so much fun?

The particular version on stage right now at Millbrook’s Poorman Cabaret (“Dracula: A Comedy of Terrors”) includes a cast of zany characters who are all searching for love. And, at its heart, a Dracula more than willing to give it (that is, the undying kind). Of course it doesn’t hurt that this particular Dracula looks as though he just stepped out of the cake at the Bachelorette Party of your dreams, endearing him dangerously to everyone in the room.

If this play actually has a theme, it would have a lot to do with transformation.

The major question running this entire operation might very well be: Will the main characters find the gumption to make the changes needed for happiness before they are transformed into bloodless versions of their former selves? And if we go for it, this theme might be embodied wonderfully in a performance requiring almost constant transformation on the part of the five main characters, who conjure up a delightful circus tent of odd-ball cranks and maniacs on their way to self realization.

The cast, by the way, performs these transformations so adroitly that, at times, I was convinced additional actors had stepped onto the stage, so complete was the illusion.

The cast is terrific. Jacob Little has the task of transforming himself into six different characters in the course of this 90-minute show. He is able to give each of them just the right comedic touch, easing seamlessly between quivering potential bridegroom, British rock star and drunken gravedigger, with several additional maniacal personas brought to life along the way.

Brenna Peerbolt is spirited as both Lucy, the bride with a mind of her own, and Kitty, the Cockney kleptomaniac. Her commanding stage presence gives weight and vitality to the combined sanity-insanity of these goings-on.

Tara Nicole Murphy plays Mina, the love-starved sister with tiny (wandering) hands, as well as Jean Van Helsing, the no-nonsense German lady-doctor, both characters beautifully realized and hilariously funny.

The self-important head-of-household, Dr. Westfeldt, is played by Mary Malaney, who also plays what might be seen as his/her outrageous altered personality, Renfield, the slavering nut-case who delights in eating bugs.

The mind-boggling Jekyll and Hyde transformations these actors are asked to undergo is especially dramatic in this case, and Mary pulls it off masterfully, with great finesse.

And then, of course, there’s Dracula. Tommy Anderson is superb as a narcissistic Dracula, in thrall to his own desires and willing to manipulate everyone around him to satisfy them.

The play places the Count within a modern framework, allowing him to talk about “being on a liquid diet,” for example, and Tommy does a great job of giving the legendary figure a sly, contemporary cast while maintaining his traditional shivery mythical force.

Dominating his surroundings simply by his muscular physique, Tommy’s Dracula almost gets away with being forgiven when he flashes his beautiful smile. The smile with all those shiny white teeth. We’re entranced, along with everyone else. But perhaps it is not too late…

Lawrence Lesher, who returns to Millbrook to direct this production (after “Stones in His Pockets,” “Boeing Boeing,” “Misery,” “Rounding Third” and “The 39 Steps”), describes the play as a riotous, fast-paced comedy requiring split-second timing to carry off its comic effects. His excellent direction, which includes choreographing sometimes complex stage interactions, has given us a performance that makes room for the unexpected while maintaining its compelling pace.

In conversation before the play, Lawrence wanted to give especial credit to the crew, whose members he’s gotten to know over the past several years, for their continuing hard work in creating these excellent productions.

Dracula’s creative team includes Cade M. Sikora for Gothic set design, Ericka Conklin for sound and lighting, Bailey Hammett-Colwel for ingenious costumes, V.C. Deener for ingenious props, and Kaidyn Rogers for production stage management.

“Dracula” is, alas, the final play in Millbrook’s 62nd summer season and will run for only nine performances, from Aug. 8-17. Take advantage of this outstanding cultural resource within our own community, and get your tickets now.

Thanks so much to David Leidholdt, Millbrook’s Producing Artistic Director, and to David Gritzner, Millbrook’s Managing Director, for keeping the flame alive.

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Karen Elias lives in Swissdale. She taught English for more than 30 years, most recently at Lock Haven University and Penn College.