In an industry often dominated by serious dramas and faithful adaptations, Titanique plows into the West End with pure, unadulterated joy. This musical parody, now docked at The Criterion Theatre, reimagines the James Cameron movie version of Titanic through the glittering lens of Céline Dion’s discography, creating a riotous spectacle that’s equal parts homage and satire.
From the moment the show begins, it’s clear we’re in for a voyage unlike any other. The premise? Céline Dion herself was aboard the ill-fated ship, ready to rewrite history with her powerhouse vocals and French-Canadian charm. Lauren Drew embodies the diva with infectious enthusiasm, popping up at every turn to inject some “Dion dazzle” into the proceedings. Her natural rapport with the audience blurs the line between theatre and cabaret, creating an immersive experience that’s as engaging as it is hilarious.
Directed by Tye Blue, it’s all ridiculously silly, but the cast is a mix of West End veterans and comedy powerhouses, who elevate the show from preposterous to prodigious . Kat Ronney’s Rose is a vivacious reimagining of the character, while Rob Houchen easily charms as Jack. Stephen Guarino steals scenes as Ruth, his wild tangents eliciting gales of laughter, and Jordan Luke Gage’s Cal oozes delightful villainy. Perhaps the most surprising treat is Layton Williams, who manages to personify the iceberg as a mash-up of Tina Turner and RuPaul – a concept so absurd it shouldn’t work, yet somehow does, brilliantly.
While Gabriel Hainer Evansohn and Grace Laubacher’s set may resemble an amateur production of Anything Goes more than a historically accurate ocean liner, it’s all part of the charm, and let’s be honest, nothing else about the production intends to be a historical dramatisation. Titanique wears its low-budget heart on its sleeve, focusing instead on rapid-fire pop culture references; imagine all your favourite memes mashed together to become a stage show – it keeps the audience in stitches. The occasional moments of apparent improvisation only add to the fun, creating a sense of joyous unpredictability.
Presumably when the show ran in the US it had an interval, because there’s a very obvious point at which the interval should be, instead the London version runs at a brisk 100 minutes, and as such occasionally threatens to take on water in its second half. However, it rallies for a rousing finale that leaves the audience ready to hit the dance floor rather than reach for the tissues. The seasoned cast showcase their considerable vocal talents throughout, proving that even the silliest of premises can be elevated by true talent.
Titanique may not be for everyone. Those seeking profound emotional depth should probably look elsewhere, Pantomime season may well be over, but this is the campest thing I’ve seen in years. For those willing to embrace its chaos and nostalgic charm, it’s an irresistible treat. In the depths of a dreary London winter, this musical offers a life raft of laughter and pure, unabashed fun. It’s a reminder that sometimes, the heart does go on – especially when it’s accompanied by Céline-sational hits and a healthy dose of theatrical madness.
