This paper proposes a new theorisation of the Queer Gothic in contemporary performance, one which grapples with the theatricality of the in-betweenness and liminality that scholars of both Queer Theory and the Gothic foreground (Haefele-Thomas 2023; Hughes & Smith 2017). Through an analysis of the National Theatre of Scotland’s 2023 show Dracula: Mina’s Reckoning, and more specifically the portrayal of the character Renfield in this production, I examine how processes of representation become indicative of both identity formation for the gendered subject in the Queer Gothic, as well as the ‘interstitial’ space from which this process is articulated and experienced by the subject. More broadly, this paper offers an opportunity to reflect on how gendered bodies and identities in contemporary Gothic performance can intervene in the representational processes which constitute modern systems of division and inequality.