Review: The Canadian premiere of TITANIQUE is a Comedic and Vocal Masterpiece

TITANIQUE, a Segal Centre and David and Hannah Mirvish co-production, officially opened at Montreal’s Segal Centre on Thursday evening, and Broadway World had the opportunity to attend its third and final preview the night before. Full disclosure, this Reviewer has seen the off-Broadway production of TITANIQUE multiple times. I have been a cheerleader for this show from early on, so when it comes to objectivity, I’m about as impartial to TITANIQUE as Ruth is to Cal’s OnlyFans content. After anticipating this Canadian production for months and being eager to see how this Canadian company would make the show their own, I was not disappointed! 

Having seen the off-Broadway production several times, it was impossible to come in with completely fresh eyes, but what I knew within the first few minutes of this production is that aside from noticing the slightly larger set and fun little differences in lines here and there, there was no need or desire to make comparisons when it came to performances. Under the direction of Tye Blue, this all-Canadian cast has made their own magic on that stage, with everyone embodying these characters with originality and enthusiasm and appearing to have a blast while doing it.

For the unfamiliar, TITANIQUE is a musical comedy written by Marla Mindelle, Constantine Rousouli and Tye Blue, with Orchestrations and Arrangements by Nicholas James Connell. Mindelle and Rousouli starred in the original off-Broadway cast, and Blue has been the Director of every production that has been mounted so far, including this one. This hilarious show is a parody of the 1997 film Titanic set entirely to music that has been performed by international superstar (and pride of Quebec) Céline Dion. In this delightfully gay fantasy of a show, Céline herself is a central character who appears in a museum to tell the true story of TITANIQUE because…well…she was there on the ship with Jack and Rose of course!

TITANIQUE captures and celebrates everything Titanic or Céline fans could possibly want to see and combines them in a vocal and comedic masterpiece filled with an abundance of joy. Don’t be surprised if after seeing this show, you are immediately ready to return and see it again. 

A strong emotional connection to Céline or to the film Titanic is not necessary for one’s enjoyment of this show, but would certainly enhance it. If you have even a basic familiarity with one of the two, or any of the multiple musical theatre or pop culture references strewn in throughout, you will find yourself frequently laughing out loud. Audience members who have no familiarity with any of these things might find themselves scratching their heads at a few jokes, but the general humour of the show and the fantastic performances all around still allow for an enjoyable 100 minutes of theatre. 

If you aren’t rolling on the floor laughing, you will be picking your jaw up off it after hearing some incredible vocals. To a person, this cast delivers and it isn’t simply that they can hit the high notes, the tone and quality of their vocals and the inventive licks and runs that they throw in are deliciously fun. 

The way Véronique Claveau captures the essence of Céline, both vocally and in spirit is uncanny. Multiple cast members have said it feels like you are in the room with Céline when Claveau begins to sing. They are not exaggerating! After perfecting her Céline impression throughout her career as a comedy and musical artist, this show marks Claveau’s first ever English language credit. While any other actress who has portrayed Céline in a production of TITANIQUE has had to work on her French-Canadian accent, Claveau’s challenge has instead been to lead a show in her second language. She excels. The love and adoration she evidently has for Céline Dion as a person and an artist, seeps out of her in every moment. What is particularly magical about seeing this show in Montreal is that as much as Céline is loved internationally, the level of familiarity and adoration for her among these audiences is at an all time high. This allows Claveau to be very specific when it comes to vocalizations and mannerisms that scream ‘Céline’. This audience recognizes it all and eats it up.

As lovebirds Jack and Rose, Seth Zosky and Mariah Campos match each other’s energy perfectly. Zosky’s Jack has a goofy charm and Campos’ Rose has a delightful feistiness. From sharing high fives and fist bumps as they defy Cal (Michael Torontow), to the iconic “draw me like one of your French girls” scene, their Jack and Rose are sweet and silly and immediately loveable. They also both bring crystal clear vocals – which, at the performance I saw, included an option up from Campos in “Tell Him” and some slick runs from Zosky in “To Love You More.”

As Rose’s fiancé Cal, and mother Ruth, Michael Torontow and Constant Bernard provide us with some fun villains to root against. Torontow plays the rich, self-obsessed Cal as someone who takes himself - and his choice of jewelry retailers - far too seriously given that they are both in fact, ridiculous. Bernard’s Ruth offers brilliant chaos and has the audience in stitches. There is a particular scene where Bernard completely steals the show and it is worth the ticket price alone.

As the Unsinkable Molly Brown, Erica Peck is also fantastic. Her Molly is quick-witted, self-assured, and a tad bit thirsty. Some highlights include watching her go toe to toe with Bernard’s Ruth, and her show-stopping vocals, both solo, and as part of a trio with Claveau and Campos.

Speaking of vocals, Christopher Ning brings the house down as Seaman/Iceberg (I would say more about the role, but oh what I wouldn’t give to experience this show for the first time again, and I don’t want to rob anyone who still has that opportunity of any surprises). Ning’s vocal prowess is on full display and he simultaneously offers hilarious line deliveries that elevate the performance even more.

Mike Melino is a hysterical bundle of energy in the role of ‘Victor Garber’ - an amalgamation of the ship’s captain and Thomas Andrews, the character portrayed by Victor Garber in the film Titanic, and rounding out the cast are the background vocalists – Andre Anthony, Queenie, and Rose Messenger - each getting a fun moment to put their vocal stylings on display. As much as each performance is wonderful, this show truly is an ensemble piece and this cast plays off each other extraordinarily well both comedically and vocally.

As a space for a show like TITANIQUE, the Segal Centre is perfect – especially after some recent renovations that give the sense that this theatre has truly been built for this show, and allowing the original vision of Director Tye Blue to be fully realized. Also helping to realize this vision are choreographer Ellenore Scott and Lighting Designer Paige Seber, who both come to Canada from the off-Broadway production.

The set design (by Gabriel Hainer Evanson and Grace Laubacher of Iron Bloom Creative Production) is similar to that of the off-Broadway production, with some adjustments on account of the stage being just a bit bigger and wider and (to the chagrin of Constant Bernard’s Ruth) with a few additional stairs. There also appears to be more backstage space, allowing for entrances and exits to not as frequently be through the audience as they are off-Broadway. This leads to some slightly different blocking, but not at the expense of including the audience in some fun moments. It will be interesting and exciting to see how the design and blocking is further adapted when this production moves to the 700 seat CAA Theatre in Toronto next month.

In addition to Seber’s lighting, what makes this production a true concert experience, is the sound and music. Supporting the fabulous vocals from the cast is a band of musicians led by Music Director Nick Burgess. This production is equipped with state-of-the-art sound design by Lawrence Schober, and brilliantly layered and detailed Orchestrations and Arrangements by Nicholas James Connell. Connell once shared with this reviewer that he intentionally arranged some music to have the aesthetic of other Céline songs that aren’t in the show, he uses fireworks effects and has layered the rhythm of the morse code for S.O.S into “I Surrender”, and, something I caught for the first time on this viewing, he uses the tin whistle opening from “My Heart Will Go On” as a motif for the Heart of the Ocean throughout the show. These clever easter eggs are yet another reason for audiences to return to the show again and again. You will always catch a new detail!

Speaking of details, there are blink-and-you’ll-miss-it comedic moments in this show that I am almost certain are unique to this production. As an example, all I will say is that I have never seen the baby prop get more play than it does in the Canadian production of TITANIQUE.

Something very special has set sail at the Segal Centre, and it is only there for a short while before making it’s way to Toronto. Be sure to get your tickets before it’s too late!

TITANIQUE is currently running at The Segal Centre until November 24th and will then run at Mirvish’s CAA Theatre in Toronto from December 5th until January 12th.

PHOTO CREDIT: Marie-Andrée Lemire

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