Skip to main content

Review of Titanic The Musical at Royal & Derngate (Derngate), Northampton

As the onslaught of jukebox musicals continues to hold sway on the theatre world, it always nice and bold to run with a musical now with brand new music, and to add to this, a musical based around the death of over 1500 people seems like utter madness. However, Maury Yeston (music and lyrics) and Peter Stone's (book) Titanic the Musical has proven any doubters wrong with a vastly successful run in London in 2016, following its initial launch in 1997 on Broadway (it pre-dates that famous movie by a few months), and now the musical is on a UK national tour.

If you don't know the story of the Titanic, your education has failed you, however, it's safe to say that this doesn't end very well, and becomes one of the worst disasters in modern history. Stone creates from this disaster an often curiously entertaining piece, full of characters that are all interesting enough, but never so to overwhelm one another, as this is very much an ensemble piece. The only way you would ever choose to single out individual characters is through their relevance to the ship. Hence, you remember Philip Rham as the distinguished Captain Edward Smith, Simon Green as owner J. Bruce Ismay and Greg Castiglioni as designer Thomas Andrews the most. However, unlike them as passengers on the ship, all characters in Stone's book are given the same class in the performance.

Performances are all superb across the deck, however, a few standouts, Castiglioni is immensely strong as Andrews, drifting from the soft pieces early on, to bold and superbly strong sung pieces later on. Green is solid, but slightly cartoonish, in the depiction of owner Ismay, and while there is a superb song titled The Blame delivered by designer, captain and owner, which attempts to spread said blame, it's clear that we are led towards Ismay as the main culprit.

Oliver Marshall is simply brilliant as radioman Harold Bride, sporting a quite stunning singing voice in his numbers, particularly so in The Foundering. Every scene that Dudley Rogers and Judith Street perform in as Isidor and Ida Straus is filled with a wonderful love, and their work creates some of the greatest emotion from the whole show. Finally, Niall Sheehy gives a rugged and earthy performance as Frederick Barrett, depicting the heartthrob role in the show, performing all his songs with a captivating and soulful way. Barrett's Song is also really particularly well staged and performed.

The music numbers are bold and often operatic in style, What A Remarkable Age This Is is very much in a Gilbert & Sullivan style, while a sprightly dance routine (but not the period?) spruces up the lively number Doing The Latest Rag. It's particularly fascinating how Yeston makes the rather mundane really highly entertaining. So the boarding of the passengers is brought to wonderful life by the comical description of the 1st Class Passengers arrival by Claire Machin as Alice Beane, there is so much life given to a song about the preparation of the dining table, and finally a truly gorgeous song of love made from the simplicity of sending a message, and performed amazingly well by Marshall and Sheehy. It all keeps the slightly too long first half moving along with enough energy.

Technically it wasn't perfect, there were a few missed light cues, including an extremely awkward delayed one at the dinner table. Worst of all though, from my centre section aisle seat, the stage left drapes were poorly positioned, so I spent the evening being distracted by movement, including the stage management going about their business, although it was slightly amusing at one point to see them do a little dance. This definitely needs fixing though, as I certainly wasn't in the worst position for this to visible.

The set though from David Woodhead (who also doubles up on the splendid costume design) is solid and bold, providing the strong steel backdrop, and an overworked pair of stairs. It's true that is doesn't do a great deal for a while, but its turn comes in style finally as the superb Castiglioni performs Mr Andrew's Vision and it throws it's neat trick into the mix. Direction from Thom Southerland is delightful, using superb use of the theatre aisles, particularly through the opening boarding piece, where we as the audience feel very much onboard the ship.

Titanic the Musical is perhaps much better than you might expect of a show based around this event, although it definitely isn't sure how to conclude itself, deciding in a perhaps poignant memorium section, and a curious reprise of the Godspeed Titanic song which ends up making it feel a tad rushed at the end. The sinking of the ship is handled as best I suppose it can be on stage, but you feel like something else should happen in this respect.

However, at the end of the day, this show is about the people, of whom we get to know a lot of during this show, it is filled with some genuinely good songs, which, for once after you see the show, I definitely suggest you seek out the soundtrack. This is definitely one that gains much from a second listen. A very strong and solid production.

A quality musical which is destined not to sink without trace.

Performance reviewed: Monday 25th June 2018 at the Royal & Derngate (Derngate), Northampton.
Titanic the Musical runs at the Royal & Derngate until Saturday 30th June 2018 before continuing its tour. Details at http://www.titanicthemusical.co.uk/
For further details about the Royal & Derngate see their website at royalandderngate.co.uk

Photos: Scott Rylander

Popular posts from this blog

Review of Murder She Didn't Write at Royal & Derngate (Royal), Northampton

Murder She Didn't Write , stopping off for a four-day run at Royal & Derngate on a lengthy UK tour, treads the now well-worn path of an improvisational evening of theatre entertainment. Unsurprisingly, from the title, this show from Degrees of Error's takes a murder mystery as its inspiration, with the story influenced by ideas from the audience each evening. Due to this, Murder She Didn't Write and a review are very much an individual affair. What I saw in my evening at the theatre will differ significantly from what the audience will see the following evening; however, the fine performers will remain. The touring cast, in no particular order, is Lizzy Skrzypiec, Rachael Procter-Lane, Peter Baker, Caitlin Campbell, Stephen Clements, Douglas Walker, Harry Allmark, Rosalind Beeson, Sylvia Bishop, Emily Brady, Alice Lamb, Sara Garrard, Peta Maurice and Matthew Whittle. For my performance, Skrzypiec, Procter-Lane, Baker, Walker, Bishop, and Clements were on stage alongsid...

Review of Only Fools and Horses - The Musical at Royal & Derngate (Derngate), Northampton

The classic BBC sitcom Only Fools and Horses , created by John Sullivan and running for 22 years, holds a fond spot in the hearts of many. Even if you are not a fan, most are slightly familiar with the exploits of wheeler-dealer Del Boy and his lanky brother Rodney. However, who could think this could be the subject of a hit musical? Well, it turns out that Paul Whitehouse and Jim Sullivan, the son of the original writer, did, and it has to be said, in Del Boy lingo, it's proper lovely jubbly! Bringing iconic characters to the stage that the same actors have played for so many years presents a challenge to any performer; however, without exception, director Caroline Jay Ranger and her team have assembled a stellar cast. Leading the action is, of course, Derek "Del Boy" Trotter, played by Sam Lupton with all the energy and wideboy manner of the legendary David Jason. Lupton looks the part, sounds the part, even, of course, in song, but even manages to add his own charm to ...

Review of Immune by R&D Youth Theatre at Royal & Derngate (Royal), Northampton

The cover note for the script of Oladipo Agboluaje's Immune describes it as "a challenging science fiction play with a large cast", and the word challenging in this case is not a lie. This is a fast paced, multi-cast changing script which leaves little room for error for its young cast in the performance. If the script isn't enough to handle for the young performers, director Christopher Elmer-Gorry and designer Carl Davies have made the situation even more complex for the actors with the set and stage work. Having to manhandle great panels on wheels and a huge cube, which also splits in two occasionally, during scene changes requires skill, coordination and cooperation of a high level. As if all this is not enough, the actual story is epic enough for the relatively small stage of the Royal. Attempting to form an apocalyptic world (albeit only happening in Plymouth) offers challenges in itself, but Agboluaje's script does that in a sort of apocalypse in the teac...