Interview: Kaylee Harwood Talks Pulling Double Duty as Assistant Director and Standby in TITANIQUE

The musical TITANIQUE has officially set sail in Canada and is continuing to delight audiences at the Segal Centre in Montreal until November 24th, before opening in Toronto in December. A few weeks ago, Broadway World had the chance to chat with prominent Canadian performer, Kaylee Harwood who wears multiple hats as both Assistant Director and Standby for this production. It was a delight to hear from Kaylee about her excitement for this show and her experience so far.

TITANIQUE, written by Constantine Rousouli, Marla Mindelle, and Tye Blue, with Arrangements and Orchestrations by Nicholas James Connell, is a hilarious blend of the music of Céline Dion and the story of the 1997 film Titanic – a film that Harwood knows by heart. She shares that in addition to eventually watching the double VHS tape “a million times” and, in 2012 when the film was briefly re-released in theatres, taking herself on a solo date to the Lincoln Center AMC (complete with a full dinner she laid out for herself), she was already so rabid for this movie back in the 90’s that the first time she ever saw it, she and a friend tricked their mothers into a mother/daughter double date because they would have been too young to be allowed to see by themselves. What’s more, she proudly boasts that before the home video came out she even got her hands on a screener copy that her “cool older cousin” had. “I watched it every day for like five days. I loved it so much.”

As such a massive fan of the film and of Canadian Icon Céline Dion, Harwood recalls the intrigue she felt the first time she heard about TITANIQUE: “I think I got wise to it early in COVID. (I learned that) it had a couple of readings and concert performances, and I thought, ‘I have to see that! Who are these geniuses who created exactly this show?! Are you kidding?!’” Several years later, she has not only seen it but is a key asset to the Canadian production, serving both as Assistant Director to (Co-Creator and Director) Tye Blue, and as Standby for the characters of Céline Dion and Molly Brown.

Harwood shares that it was earlier this year when she finally had the opportunity to see TITANIQUE in New York (her initial attempts were thwarted first by her busy schedule and then by a forced cancellation due to a building issue at the off-Broadway production back in 2023). “I went with Tye. It was wonderful watching the show with the director. It was great for me to see how much he loved it. He’s seen it seven million times, but to hear him laugh at everything, to just hear the joy, to experience the show with him was so special.” 

In addition to having a successful acting career both in her native Canada and the US, Harwood also has multiple credits as Director, Assistant Director, Dramaturge and Choreographer over the past few years. “The reason I first wanted to direct is because I love to watch, and I love to watch over and over and over again and I love to watch actors try things. I love to watch actors find a moment, for it to sink in, for it to really mean something to them.” She shares that she cannot emphasize enough how wonderful it was to observe Blue as a director. She points out that between the multiple productions and auditions, he has seen hundreds of people in these roles. "(It was special to see) how giving he was in the audition room, how giving he was as an audience member at his own show, it was so life-giving to me to experience someone…who was there in full support mode as the director and creator and co-writer of the show.”

As Assistant Director, Harwood’s responsibilities have included, among other things, supporting Blue in distributing notes to various production departments. She explains that because the orientation of the theatre in the Segal Centre is different from any space the show has been performed in yet, part of her role has been to watch the show from every angle. “He and I watch the show in different places so that we can report back on what the sound was like, what the sight lines were like etc.” She adds “It’s powerful to be there witnessing up close how (Blue), as the American representative of the show, is working with the various production departments in Canada. Many of the departments have been in consultation with the departments in New York and sometimes in Australia where the show just went up as well… it’s been neat to watch those conversations happen.”

“What I adore about this piece and working with Tye… is he is so passionate about catering to everyone’s strengths” Harwood explains. “Tye was so open in his casting. I really appreciate that about him. There isn’t a slot that you have to fit into in order to be cast in the show. He wants great voices and hilarious people and it doesn’t have to be cookie cutter.” She explains that in her experience, for bigger commercial shows, there can be a tendency for casting to be a bit more ‘cookie cutter’ where, in addition to their talent, performers can sometimes be cast because they resemble or fit the “type” of the person who originated a role. This is not the case with this production. “What’s wonderful (with TITANIQUE) is how much freedom there is within this casting for people’s skills to really shine through.”

Photo Credit: Marie-Andree Lemire

This sense of freedom is important to Harwood in her role as Standby. She explains that although she has been a cover before – she covered 5 different tracks on the National tour of BEAUTIFUL – she has never done so in a sit-down production until now. “With this show, I’m sitting down in the same city for 2 months and watching them build it, tailoring it to the performers’ strengths here. I want to pay respect to what they’re building and also bring myself into the role when that happens. So it’s that balance of (determining) ‘what are they after and what are their strengths that are being highlighted here and what are my strengths so I can still honour what they’re doing and bring myself to it.’”

Harwood has noticed that there are times when it is particularly helpful that she wears two different hats with this production. She can provide the perspective of someone performing on stage and this comes in handy when reporting back about things like how the backstage area is coming together, what could make things go more smoothly, etc. TITANIQUE will move to the CAA theatre in Toronto in early December and Harwood will continue to work in an assistant capacity as the show is re-spaced for the new theatre (which is yet again, an entirely different orientation from the one the production is currently in).

When asked about the experience of doing this show in Céline Dion’s home province, Harwood cites just how adored Dion is in Quebec as something very special about this opportunity. “I’m not saying she’s not adored elsewhere, but here it’s different. It’s like, 'hometown hero!'” She adds that in addition to the Céline connection, francophone artist Véronique Claveau, who portrays Céline in this production, is also a local celebrity. “Véro is also a celebrated performer here, not only as an incredible mimic of Céline, but in her own right! She voiced and sang the French language version of Frozen! She’s Kristen Bell here (laughs)… And so it’s really neat seeing people come out who also know Véro and who might not come see the show otherwise. She’s the anchor -pardon the pun (laughs) - of the show in a beautiful way that I think unites the community here.”

Harwood gushes about just how good Claveau is in the role: “She is extraordinary. I don’t want to give it away too much but it is like being in the room with Céline and I never in my life have been in the room with Céline. I’ve never seen her live – many times tried to, but it never worked out. This feels like as close as I’ve ever been to being in the room with that voice. It’s uncanny. I’ve cried more times than I care to admit.”

TITANIQUE continues at the Segal Centre in Montreal until November 24th and then begins performances at Mirvish’s CAA Theatre in Toronto on December 5th.

PHOTO CREDIT (Above Headline): Kristine Cofsky

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