Review: TITANIC Doesn't Sink At The Princess of Wales Theatre

4 out of 5 stars

Titanic the Musical opened yesterday afternoon in Toronto, and was met by thunderous applause and a standing ovation following the performance. The musical, which opened in 1997 on Broadway and pre-dates the James Cameron film went on to win five Tony Awards including "Best Musical" - but still closed at a significant financial loss on Broadway and was negatively received by critics.

This incarnation of the musical by Maury Yeston and Peter Stone, directed by Thom Sutherland, comes to Toronto from across the pond and was very well received in England. This new production trades in a grand and expensive sinking ship for a staging far closer to minimalist. Set designer David Woodhead has put just enough nautical-eque walls and props on stage for your imagination to be able to take over and fill in the rest - and his costume designs are even grander.

The production features a band of six musicians under the helm of musical director Mark Aspinall. I'm normally the first person to complain about shrinking orchestras and synthesized music - but this production has remarkably innovative orchestrations that sound fuller than much larger show bands. Though the show could have benefited by a few more musicians, the chamber orchestra perfectly fits into this production.

The cast of British actors (with the addition of Canadian opera star Ben Heppner) are all perfectly suited to their multiple parts, and the show is truly an ensemble piece. Heppner manages to steal the second act with a duet he sings with Judith Street. His booming tenor singing voice washes over the auditorium - and audience members who may not be familiar with his work will sit up in awe and realize they are in the presence of a master of his craft.

Greg Castiglioni also stuns in the second act as the haunted designer of the ill-fated ship, Andrews. He portrays Andrews' last moments to a chilling effect. Philip Rham exudes wisdom and command as the Captain, until the ship starts to sink. Celia Graham provides the much needed comedic relief as a social climber unhappy in second class. Simon Green plays Ismay, the ambitious owner of the Titanic who keeps pushing the captain to go faster.

Despite an unnecessarily lengthy first act which could use some trimming, the production is fascinating to watch. The second act doesn't have a wasted moment and is tightly paced. There's no scenes portraying massive death à la Les Miserables. Considering the musical uses the actual stories of the people who were aboard the Titanic and is based on the fact leading up to the tragic sinking, I thought the way the ending was portrayed was very tasteful.

The true star of this production is Maury Yeston's score which is thrilling, tragic, beautiful, and brilliant. His melodies are simple enough to recall and hum as you exit the auditorium, but features impressive harmonies and complex segments reminiscent of Sondheim. The production is worth seeing to experience the music unabridged and uninterrupted alone.

It's intriguing considering that it took a minimalist and story telling based approach of staging to bring back one of Broadway's grandest spectacles in a production in which everything perfectly fits. With a little trimming, this production could easily sail away back to Broadway - which was originally Titanic's next scheduled destination, before those plans were scrapped.

Titanic is docked in Toronto through June 21st before it sails away from The Princess of Wales Theatre. Tickets and more information are available at Mirvish.com.

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