Titanic The Musical – Churchill Theatre, Bromley and Touring

Joseph Peacock and company in Titanic The Musical at the Churchill Theatre, Bromley and Touring. Picture: Pamela Raith

Titanic The Musical was reviewed at the Churchill Theatre, Bromley. The UK and Ireland tour continues until 5 August 2023.

Star rating: five stars ★ ★ ★ ★ ★

Titanic The Musical debuted on Broadway in April 1997. A musical? Was it to go the sad way of many others based on historical events? Then the Broadway cast recording made its way across the Atlantic and this writer was entranced by Maury Yeston’s powerful score. Fast forward to August 2013 and a small scale production opens at Southwark Playhouse, and I watched as a punter twice, enthralled by Thom Southerland’s staging, the voices filling that small space with glorious sound, the intimate moments benefiting from the close proximity.

Reacquainting myself with this larger scale production, remounted for a tour of the UK and Ireland in the tenth anniversary of that production, is a five star delight. The set by David Woodhead expands to fill the proscenium stage as does the musical staging by Cressida Carré, beautifully lit by Howard Hudson. The actors spill into the auditorium, lightning costume changes mean they double as crew and passengers, as first, second and third classes. The upper level and the mobile staircase keep the actors moving, and the final tragedy is depicted with inventive stagecraft.

Peter Stone’s book and Yeston’s music and lyrics cleverly unfold the dreams, ambitions and class barriers with a musical richness which is at the heart of the tragedy. And there’s a feast of singing, voices soaring or pattering, the music and lyrics always moving the story forward. Trios give way to quartets, quartets swell into chorales. It may be operatic in volume and tone, but the lyrics are crystal clear and purposeful. Hope for a new life in a new world are at the heart of this version of the familiar story. Third class dreaming of escaping poverty, second class of transcending class barriers, and the first class hoping for a voyage of a lifetime, to be part of a record-breaking success.

There are three trios. The owner of the White Star Line J. Bruce Ismay, Titanic architect Thomas Andrews and Captain Edward Smith. Three seamen, a stoker, a lookout and a radio operator. And three Irish Kates. Surrounding them are the passengers and the crew of seamen and serving staff.

Yeston’s score rarely stops for spoken dialogue, the lyrics serving to tell the tale. Ismay’s opening monologue and the awe on first seeing the Titanic, the boarding and setting sail of the ship. Ambitions expressed, past histories revealed, dancing and joy filling the ship while Ismay drives the Captain to go faster than he cares to. And we end the first half with that tragic collision.

Act II opens with the crew mustering passengers, placating panic and assuring them that all is well, but lifejackets should be donned (‘Dressed in Your Pyjamas in the Grand Salon’). Ismay, Captain Edwards and Andrews argue about who is to blame. And wend their way to the inevitable conclusion.

Southerland has marshalled a powerful acting cast with great singing voices so it seems churlish to single any one out, but by virtue of the songs they have and their performances some do. Barnaby Hughes as Etches makes a real impact as the first steward, thanks to great comic timing and a thrilling tenor, as does Joseph Peacock as the hyperactive bellboy doubling as the bandmaster with a lyrical rendition of the pastiche ‘Autumn’. Ian McLarnon with his moving soliloquy as Thomas Andrews, the ship’s designer, seeing his dream founder on an iceberg in ‘Mr Andrews’ Vision’. Billy Roberts as first officer Murdoch holding himself to blame. Bree Smith as socially ambitious Alice Beane, driving her husband Edgar Bean (James Darch) to want more. Adam Filipe as Barrett the Stoker. David Delve and Valda Aviks as the Straus couple, choosing to stay together after 40 years and end their lives on the sinking ship. Emma Harrold as Lady Caroline Neville, forsaking her aristocratic family for the love of her husband and experiencing travel in second class for the first time. Sam Brown as Frederick Fleet. Graham Bickley as the weak-willed Captain Smith. Alastair Hill as radio operator Bride. And all the other performers in this 25-strong cast. Not forgetting musical director Ben Papworth on keyboards and his band of five sounding twice their size.

We must be grateful to producer Danielle Tarento in conjunction with the Mayflower Theatre Southampton and Harmonia for continuing to champion Titanic The Musical and mounting this handsome production. With Southerland’s direction and this cast it must tour to capacity audiences and be aiming for a run in London’s West End.

Leon Ferguson