We take a look at what New York critics have had to say about the Broadway production of the musical.
Theater Mania.com: “In a world chugging toward dark waters, Titaníque is a guaranteed good night out—one that ends with the whole audience singing.”
New York Times: “Fortunately the romantic couple does a lot of cleanup work. Barrera, whose extensive screen credits include Vanessa in the movie version of “In the Heights,” makes an assured Broadway debut, filling with ease the difficult niche this Rose occupies: the funny ingénue. She has terrific scene partners in John Riddle as Rose’s smarmy fiancé, Cal, and in Rousouli, whose goofball Jack is mostly defined by wide-eyed enthusiasm and form-fitting pants. If anybody thought this kind of fare wasn’t ready for Broadway, well, “Cats: The Jellicle Ball” is playing across the street and “Oh, Mary!” is a couple of blocks away. “Titaníque” may be uneven, but at least it fits right in.”
The Guardian: *** “If there is one thing the real Dion believes, it is in the power of singing as passionately as possible, as much as possible. Once Titaníque embraces that, it’s full steam ahead toward a triumphant finish: dick joke mileage may vary, but the Dion highs, like a good bit, go on and on.”
amny.com: “For audiences in a celebratory mood — or those deeply invested in Dion’s music or the original film — “Titanique” may provide a breezy diversion. But its appeal is narrow, and its comic returns diminish quickly.”
Variety: “But everyone in the show has stunning vocal chops, including Cox as the Molly Brown who makes waves with “All By Myself”; Grande as “Victor Garber,” the ship’s oblivious and idiotic captain who belts out “I Drive All Night” before finally crashing; and, of course, Williams who out-divas Dion with “River Deep, Mountain High.” As Rose’s impoverished yet imperious mother Ruth, Parson’s dry deliveries offer great comic ballast to this ship of fools.”
Culture Sauce: “Yes, the show feels padded in places and runs well over the 90-minute running time Mindelle promises from the stage — though it’s well under the three-hour tour of the S.S. Minnow of Gilligan’s Island and boasts a much higher laugh-to-punchline ratio. Plus, the hard-working, eager-to-please cast lean into the silliness of the material while delivering legitimately strong vocals on familiar tunes from Dion’s extensive catalog of hits. Titaníque, complete with that Frenchified accent to emphasize the final syllable, is one of the funniest musical comedies in years. It cruises into dock amid ocean-high waves of laughter. “
New York Theatre Guide: “Acclaimed though Titanique was for more than just silliness, the show’s expansiveness perhaps wasn’t as apparent in its smaller homes. Now, director Tye Blue’s production has a venue big enough to unfold to its full wingspan. Like Rose “flying” on the ship’s bow, it seems it’s been waiting to do that all along.”
New York Stage Review: ** “Williams, by the way, won an Oliver award for the acclaimed London production and this side of the pond takes on the best interlude, a full-bodied reprise of the Ike and Tina Turner “River Deep, Mountain High” (written, eternal thanks to them, by Phil Spector, Jeff Barry, and Ellie Greenwich). The superb rock ‘n’ roll anthem is given full force by him, Cox, and eventually the entire cast. And remember that Celine Dion spectacularly covered the classic with her own, um, awesome power. Note: Ogling it on YouTube might be the best way to honor her.”
New York Post: *** “The entire cast is in ship shape. However, “Titanique”’s raison dêtre, as it always has been, is Mindelle’s glorious Celine. Yes, it’s a wacky and detailed impression, but what really makes the performance work is that Mindelle and Dion have a mutual madness to them. Deux pois in a pod. Behind the actress’ “Bon jour! Ca va?” mimicry is an unexpectedly natural and relaxed performance because the goofiness is just as much hers as it is Dion’s. She’s sensational. “
Entertainment Weekly: “Someone is stealing the show at any given moment during Titanique‘s 100-minute runtime, but that honor most frequently goes to Layton Williams, who last year won an Olivier for his dual role. He initially makes for a charming seamen before absolutely exploding on the scene as the riotously hilarious and commanding Iceberg… who happens to be Tina Turner. Trust me, it all makes sense.”
Deadline: “The large cast has no weak links – Rousouli has honed the clueless, gleeful Jack-as-“aging twink” to a shine that blue diamond might envy, right up to and including his shivery resentment at Rose not making room on that floating hunk of wood – but Mindelle is the real key to keeping this whole shebang afloat. Too mean and we’d never go along with the joke, given Dion’s recent struggles, and too nice and we’d never laugh at them.”
For more information on the production visit: https://london.titaniquemusical.com/