Titanic the Musical (Chapel Off Chapel) – theatre review

A total of 1,517 people, more than two-thirds of those who boarded the world’s largest moving object, perished after the RMS Titanic hit an iceberg at 11:40pm on 14 April 1912 and sank early the following morning. Hardly the material that immediately makes you think of musical theatre … and yet it is just the subject of that art form with Titanic the Musical  playing at Chapel off Chapel with a cast of twenty (17 of whom fill multiple roles) together with a string quartet.

Of course, we know the facts … that the 269 metre long ship was on her maiden voyage from Southampton to New York City when tragedy struck, but not before six ice warnings had been issued. In fact, guilt is a theme that resounds in this Australian premiere of the London Chamber Revival production of Titanic the Musical.  It is a more intimate account of events than the original, grander Broadway show. The musical, with music and lyrics by Maury Yeston and a book by Peter Stone, opened in New York in April 1997, where it went on to receive five Tony Awards, including that for Best Musical.

The positive aspects of what the ship represented sparked Yeston’s interest. They included mankind striving for great artistic works and technological feats despite the possibility of tragic failure, and the dreams of the passengers on board. We get to see the tension between competing forces as the vessel sets sail.

The director of White Star Line, which owned the ship, Joseph Bruce Ismay, is keen to ensure it takes no longer than six days for the Titanic to reach its destination. As such, he wants the captain, Edward John Smith, to increase her speed. The ship’s designer, Thomas Andrews, like the captain, takes a more cautious approach. He is after safety and comfort ahead of rapidity. Nevertheless, he regards the Titanic as unsinkable. Then we hear the individual stories of the first, second and third class passengers, based upon actual characters. The third class immigrants, in particular, dream of a better life in America.

There are three passengers named Kate – one wants to be a lady’s maid, another a governess and the third “a sewing girl”. Among the men, they talk about becoming an engineer, a constable and a shopkeeper. Lady Caroline Neville, a blue blood, is in love with a greengrocer’s son and the pair has sailed away together to get married. Alice Beane is keen to mix with the rich and famous on the upper deck. She is not afraid to say what she wants and go for it, in spite of the protestations of her hardware store owner husband, Edgar. A stoker aboard is keen to marry a girl he is sweet on and gets to send her a message via a sympathetic Morse code operator. A wealthy couple, Isidor and Ida Straus, married for 40 years, pledge their love for each other as the ship goes down. They have chosen to stay behind rather than manning one of the too few lifeboats available.

One of the most memorable and devastating scenes comes in the deeply moving second act, when the third class passengers are met with locked doors as they seek higher ground. Simple wooden chairs – most effective props and mainstays in the production – held by other members of the cast, most poignantly reflect the barricades.

As important as the set up is by way of establishing the excitement of the journey ahead, loading the provisions and the luggage, and getting to know the passengers and crew, I felt the first act dragged. It lasted the best part of one hour and 20 minutes. Interval, as per expectations, occurs when the Titanic is unable to avoid colliding with the wall of ice in front of her. The second act races by and has far more pathos, reaching into your soul. It is harrowing to watch, but nevertheless compelling. You dare not look away for a second.

The cleverly orchestrated sound effects – deliberately unnerving – and lighting remind us that time is short before the ship will dive into its watery grave, carrying with it the lives of so many. One sequence has the hardware man, the stoker and the greengrocer’s son contemplating their impending fate. The timing is immaculate – the eerie silence speaks volumes. This is director James Culter’s finest hour. Mind you, please don’t think that Titanic The Musical isn’t without its lighter moments – one of the “Kates” onboard courtship being one and Alice Beane’s attempts to better her station being another.

As far as the music is concerned (musical direction is from Kent Ross), it is the rousing chorus numbers such as Godspeed Titanic that I most enjoyed. The ensemble cast is made up of accomplished musical theatre and operatic singers. The staging is simple but highly appropriate – just wooden planks reflecting the ship’s deck with a portion cut out allowing for four musicians, all dressed in dinner suits, to provide musical accompaniment throughout. They are supplemented by an unseen keyboard player and percussionist. Dates and times are reflected upon a large blue screen background, which shows us the outline of the ship.

Titanic The Musical is proof that even the most distressing situations can, with careful and sensitive handling, be turned into life affirming entertainment. It is playing at Chapel off Chapel until 24th July.

Alex First