13 – 17 June

Rarely has musical theatre been as popular with the public. Our fascination with this theatrical genre shows no sign of abating, as contemporary adaptations such as “Shrek”, “Fisherman’s Friends” and “Heathers” will attest. Consider the phenomenal success of “Hamilton”, “Frozen” and “Six” in recent years. “The Bodyguard”, “Calendar Girls” and “Sister Act” will all be playing to Everyman audiences over the coming months. Musical theatre allows for the full spectrum of human emotions to be conveyed through song and dance, often with memorable musical numbers which can make the stories they tell so captivating, the theatrical experience so immersive and engaging. I was therefore both intrigued and excited when “Titanic: The Musical” sailed into town: surely here was one of the most heart-rending and poignant human dramas of all? A string of Tony Awards and widespread critical acclaim since its launch in 1997 would suggest the opening night audience were in for a night to remember….

Let us start with the positives:

Musically, visually and technically, this is a highly impressive show. Within a huge cast of twenty-five players there are some outstanding performers; the sheer power and range of voices, both individually and as an ensemble, particularly in some of the more rousing numbers, are much in evidence, not least in the powerful “Godspeed Titanic” which both opens and closes the show.

“Titanic” as a visual experience is almost as impressive as the opulent liner on which it is based. Lavish costumes and props embellish every scene; the attention to period detail and Edwardian extravagance is commendable. The creative use of staging and lighting is another of the show’s strengths: the split-level set, complete with a portable staircase, is both versatile and imaginative, calling to mind not just the Titanic’s eleven decks but, more subtly, illustrating the social divides between first, second and third class passengers. The lighting is highly effective, not least in the dramatic conclusion to a lengthy first act, when the much-anticipated, fateful collision between ship and iceberg finally occurs. However, it is in the poignant, dramatic final scenes, as the doomed ship rears up in the icy Atlantic waters, that the staging impresses most, and Andrews, the architect, meets his end, along with so many others.

And yet “Titanic: The Musical” never seems to equal the sum of its very talented parts. None can fail to appreciate the vocal talents on show, but the performance is imbalanced, with no fewer than twenty-five musical numbers – only a couple of which are truly memorable – leaving me feeling rather overwhelmed. At times, I craved some normal dialogue, rather than weather reports set to yet more music. The real-life human stories and characters on which the musical is based are lost amidst all the singing; as a result, we fail to connect, identify or properly empathise with the main characters or feel their tragic loss. The stoker, Frederick Barrett, introduced so effectively in Act One, mysteriously sinks without a trace in Act Two. The Stomp-like ‘Barrett’s Song’ feels misplaced and incongruous in a show largely devoid of dancing, and the decision to keep a busy and wonderfully talented orchestra off-stage, particularly given the historical truth of how ‘the band played on’, feels like the wrong decision.

The show nobly attempts to explore important social themes of immigration, class-based injustice and prejudice, and the ironic, doomed hope for a new life in a new world. Ultimately though, these too are lost beneath the waves. The show’s ending could, and should, have been a thought-provoking and powerful one, focusing more on the tragic and unprecedented loss of life and humankind’s hubristic behaviour. Instead, for all its visual splendour, technical mastery and vocal power, “Titanic: The Musical” left me with a slight sinking feeling.  

★★★☆☆ Tony Clarke 14 June 2023

Photo credit: Pamela Raith Photograpy