This paper examines the use of digital technology in recent theatrical adaptations of Bram Stoker’s Gothic novel Dracula, focusing on imitating the dog’s Dracula: The Untold Story (2021) and the National Theatre of Scotland’s Dracula: Mina’s Reckoning (2023). Working with Jack Halberstam’s analysis of the connection between technological and cultural changes in representational forms of the Gothic (1995), I argue that these two productions blend live performance and digital technology as a means of critically engaging with contemporary feminist politics.

Both adaptations foreground Mina Harker as their central protagonist, using technologies such as live projection and video mapping to tell her story. Halberstam shows how the Gothic has functioned historically as ‘a technology’ that transforms complex issues of gender, class, and race into ‘what look like sexual or psychosexual battles between and within individuals’ (1995: 33). I argue that these productions directly confront this trend from a contemporary feminist perspective, transforming the problematic sexual politics of Stoker’s novel into a new Gothic form able to critique the modes of representation on which patriarchy and heteronormativity are based. More broadly, this paper offers an opportunity to reflect on how gendered bodies and identities can critically intersect within technologically enabled performances.