Review: TITANIQUE Hits All the Right Notes (and Icebergs) at Mirvish's CAA Theatre

TITANIQUE has finally arrived in Toronto, and the outrageous comedy and fantastic vocals that made quite the splash at Montreal’s Segal Centre last month are now on full display in the biggest theatre this show has been staged in yet. Having caught this Canadian production in Montreal, BWW was intrigued to see this show be performed in Mirvish’s 700-seat CAA theatre. This little show that could, that started as a kooky idea among friends performing at a dinner theatre in Los Angeles, is now an international hit with Rose getting drawn like one of Jack’s French girls to the tune of Celine Dion’s Because You Loved Me 8 times a week in 4 different countries! This Canadian production is stacked with some of the country’s greatest talent, celebrating the incredible music and personality of Canada’s own, Celine Dion. It is also ridiculously funny!

TITANIQUE, written by Marla Mindelle, Constantine Rousouli, and Tye Blue, with Orchestrations and Arrangements by Nicholas James Connell - is a parody of the 1997 film Titanic set entirely to music that has been performed by international icon, Céline Dion. In this silly send-off, Céline acts as our narrator, as she recalls the true story of TITANIQUE (set entirely to her music) because, it turns out, she was there!

Having seen this show a few times before, what intrigued this writer the most about this production was the location. This is the largest space TITANIQUE has been performed in thus far. The CAA theatre is a more traditional theatre space, with an elevated proscenium stage, orchestra seats looking up at the stage, and more separation between the stage and the audience than has been the case up until now. There is a balcony that has more seats in it than most theatres that have housed TITANIQUE have had in total. If previous spaces were the Carpathia, this one would be the Titanic!

The question that has lingered in my mind ever since TITANIQUE was announced as part of the off-Mirvish season, is how would this silly little show that literally got its start in the basement of a grocery store, fare in this space? The answer is: Just fine. Certainly, it feels different, but with a few tweaks to staging and choreography, there is never a moment where the space feels too big for the show. More importantly, the clever, campy, novelty that gives this show its charm, is not diminished in the least when placed in a more traditional space.

One of TITANIQUE’s greatest strengths is that co-authors Marla Mindelle, Constantine Rousouli, and Tye Blue (who also directed) opted to never sacrifice the types of comedy they enjoy for the sake of appealing to a general audience. Much of the humour is universally funny, but this show is layered with jokes, references, and innuendo that audience members will either get, or they won’t. And that’s ok. There are comedic nuggets for everyone, and there is so much cleverness AND stupidity jammed into this show, that if one joke isn’t for you, you won’t feel like you are missing out, because they are already on to the next one. The specificity of the humour makes it that much more of a payoff when you do understand a reference and in a 700 seat theatre, it’s a guarantee that every single little moment or joke will be a hit with someone. There was many a moment on Opening Night when the entire audience erupted with laughter, but it was also fun to hear uncontained cackling from various sections of the house at different moments throughout the night.

Something I neglected to mention in my Montreal review was the fun choreography by Elenore Scott. This choreography is technically a replica of the off-Broadway production, however, because of the differences with the size and shape of the stage, there are moments where it is slightly tweaked or expanded upon. Credit to Associate Choreographer Lisa Rubin for helping to facilitate these adjustments. Scott’s choreography finds the perfect balance of movement that is cohesive and captivating, while not taking itself too seriously. She at times sends up Broadway choreo (as she does with Jack and Rose in a particularly hilarious ‘across the floor’ moment), while also providing fun choreography that keeps things moving.

The cast is wonderful. Their chemistry with one another has only grown since this reviewer last saw them in Montreal. Each and every cast member expertly demonstrates how one can take their craft seriously while enjoying the opportunity to play.

To mention just a few... Véronique Claveau is a radiant Celine Dion, with uncanny vocals, and perfect comedic timing. Constant Bernard’s Ruth is somehow now even more unhinged, having added a few throwaway lines to Ruth’s ‘meltdown’ scene that work well to highlight the differences in the space. Kudos to Mariah Campos (Rose) who, in addition to singing like an angel, and striking the balance as the ‘straight’ character of the show while still having her own funny moments, is the perfect scene partner for Bernard as she “yes ands” her way through mother dearest’s insults and glares.

An ensemble piece through and through, everyone has moments to shine. My viewing partner remarked that it doesn’t seem fair that a show this funny can also be so well sung. And that really highlights what makes TITANIQUE so special.

If you are even vaguely familiar with Titanic, Celine Dion, RuPaul’s Drag Race, or culture in general, OR if you like good vocals and campy fun, there is something for you in this show!

TITANIQUE continues at the CAA Theatre as part of the Off-Mirvish Season until January 12th.

PHOTO CREDIT: Marie-Andree Lemire

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