“One of the most powerful musical shows you will see with excellent performances from a talented cast and quite breath-taking production - unmissable.”


“A feast of remarkable theatricality – this totally enveloping, completely thrilling production gave one a chance to experience the kind of masterly theatre that has been absent in Birmingham for far too long.”


“The vocal performances are tremendous, and the entire ensemble cast are simply astonishing in their talent and energy. A truly amazing evening at the theatre.”


“A triumph!”

One of the most thrilling and powerful second acts in all of musical theatre, as the Liverpool Empire is transformed into a chamber of anxiety and terror in the face of profound tragedy.

Musical theatre at its best!


“Deservedly recommended; only a heart as cold and unshifting as an iceberg wouldn’t melt to this production’s persuasive authority.”


“A stirring tribute to those who sailed aboard the ill-fated ship of dreams. A show that is at once uplifting and heart-wrenching.”


“Bold, brave, poignant and tragic.”


“This production has one of the most rousing, powerful and 'sit back in amazement' scores, sung with such passion and volume that you can't help but be dumbstruck. Every member of the cast deserves their own standing ovation.”


“A wonderfully atmospheric production. You can't help but get swept away with the emotion and sentiment of this first-class show.”


“A modern musical masterpiece about a legendary piece of history.”


“A thrilling, exciting and ultimately moving rendition.”


“Heart-rendingly powerful production of a modern musical theatre masterpiece.”


“This dignified production has a glorious and moving score with a story full of aspirations, hope, love, ambition and ultimately tragedy. A fantastic performance which deserved the standing ovation!”


“One of the most memorable evenings I have spent in a theatre. A must-see show.”


“This is a stunning show.”


“A theatrical tour de force.”


“The audience was on its feet moments after the last chord was struck.”


“An inventive, moving and beautifully produced piece of theatre. The audience could not avoid standing and cheering at the end. They had been entranced and entertained from beginning to end. Bravo!”


“The final curtain is cheered to echo by an audience who find themselves challenged, impressed, and - in the end - deeply moved”


Titanic – The Musical at Mayflower Theatre, Southampton – ‘a modern musical theatre masterpiece’ sails on to a new UK national tour of much larger venues, appropriately launching in Southampton – the port city from which Titanic began her maiden (and what turned out to be her final) transatlantic journey in 1912.

The production magnificently retains the forensic chamber intensity it had before. Evocative sculptural lighting by Howard Hudson delivers mood but also spectacle as needed. But mostly it is composer Maury Yeston’s surging, melodic score, powerfully rendered by a stunning ensemble cast of actor-singers, that had me sobbing openly during the awful inevitably of the second act.
Verdict: Heart-rendingly powerful production of a modern musical theatre masterpiece.” Mark Shenton, The Stage

“Central to the show, however, are the real people whose real stories are told, and with so many of the passengers and crew coming from Southampton they are stories that cut deep. I don't want to give too much away but weaving the various real love stories through the action and the manner in which the heart-breaking facts and realities are revealed is heart-breaking.

The super-talented, hard-working 25-strong cast slip effortlessly between parts giving the illusion of so many more and their soaring, crystal clear vocals are breath-taking.

Yeston's rousing, emotionally charged choral music and lyrics drive the story along, leaving you hanging on every word. The set is perfectly simple and the staging highly engaging and intelligent whist the costumes transport us straight back to the era.

One of the most memorable evenings I have spent in a theatre, Titanic the Musical is a must-see show and the most fitting tribute to the 1517 men, women and children so tragically lost and commemorated.”
Hilary Porter, Daily Echo

“The cast is fantastic, with some impressive singing talent and a real knack for bringing each individual character to life. In particular, Greg Castiglioni as Thomas Andrews, the ship’s designer, was impressive, and Simon Green as J Bruce Ismay had the audience riling up with anger at his selfish arrogance. Victoria Serra as Kate McGowan also stood out as the passionate and sparky Irishwoman keen to turn her life around. As I say, though, each of the actors was extremely talented.
The cast’s voices harmonised beautifully and were incredibly haunting and moving, bringing me to tears a number of times. A range of soft, heartfelt ballads and dramatically powerful numbers cut through the silence in the theatre like ice, vocalising the emotions that became the foundations of the show; fear, loss, sadness, love, and hope.” Jo Fisher Writes, Southampton


Titanic contains some of the most powerful and striking choral writing that you’re ever likely to come across..One of the real stars of the show has to be Maury Yeston’s music though. Alongside the powerhouse numbers sit some beautiful and poignant solos and duets. Godspeed Titanic sets us underway as the ship sails, with a moving sequence as the women are boarding lifeboats We’ll Meet Tomorrow, bringing a tear to many an eye in the audience.Striking and stirring, poignant and moving, Titanic – The Musical is a powerful experience. ...James Garington


“Titanic the Musical” remains a powerful, poignant, truthful, and ultimately, terrifying modern opera staged with majestic realism and heartfelt theatricality. Vivien Devlin/ Edinburgh Guide

The Titanic, sank two and a half miles to the bottom of the Atlantic Ocean in just two hours and forty minutes after she collided with an iceberg at 11.40pm on 14th April, 1912. That is precisely the same duration as the performance of this Musical. A survivor of the disaster commented that it was like watching “ a play that was being enacted for entertainment,” The tragic story of The Titanic is indeed the stuff of pure, epic drama.

While James Cameron’s Hollywood movie was more of a romanticised, fictionalised version, Maury Yeston and Peter Stone wisely based the Book for their Musical on a group of real-life passengers, officers and crew following the timeline of the fateful maiden voyage.

The opening, quiet rhythmic chords, like Morse Code signals develops into a melodic overture, as we view the split level decking, rails and a wall depicting the hull and rivets of the White Star Liner. Embarkation day, 10th April in Southampton - a gaggle of steerage emigrants, smartly dressed Second Class guests, First Class ladies and gentlemen in haute couture. Crew members shout out “I’ll be back in a fortnight,” with a final wave.

J. Bruce Ismay, the owner of the shipping company, proudly sings about “A floating city .. sleek and fast, At once a poem, the perfection of physical engineering”. Down in the bowels of the ship, the stokers shovel coal in the synchronised routine of their hot, hard labour.

While we get the overall picture, it seems an extraordinary omission that the design does not incorporate a backdrop photograph or a video to illustrate the sleek shape and four towering funnels. This would place the well known, iconic vision of the largest ship in the world, centre stage.

The narrative focuses on a dozen or so passengers, their romantic dreams, aspirations and place in the diverse social class structure both ashore and on board. We met three young Irish girls, giggling as they catch eye of a handsome boy amongst the third class passengers, all excited about a new life where they plan to be a lady’s maid, a governess or open a shop …in America!.

There’s a bittersweet, comical sketch by social climbing, Fomo fantasist, Alice Beane who is desperate to meet the multi- millionaires, Mr John Jacob Astor IV and Mr Benjamin Guggenheim. Her long suffering husband is clearly embarrassed by her desire to dance with a first class passenger.

We witness dinner service in the First Class dining room, where the wealthiest guests enjoy five star service and champagne under the watchful eye of the Maitre d. Henry Etches .. “Mr. Astor takes his toast dry, Mrs. Straus likes the grouse, With the sauce on the side, And the Wideners love Kidney pie.”

On the Bridge, the elderly, mild mannered Captain Smith is pestered by the rather pompous Ismay who is determined that the Titanic should increase speed in order to reach New York by Tuesday. The Marconi operators are busy sending guests' telegrams while a chilling flurry of Iceberg warnings are promptly dismissed by the Master of the ship.

Sunday 14 April - a beautiful starlit calm night, as the minutes tick on towards midnight with rising dramatic tension and the actual collision is brilliantly staged with sudden, shocking effect.

Without a real sense of danger, 1st and 2nd class guests don their life preservers and are almost in party mood in a singalong: “Dressed in your pyjamas in the Grand Salon, Looks to be bizarre in the extreme…Things could improve if the steward opens the bar!...” On a more sombre note, Mr and Mrs Strauss, (owners of Macy’s, NY), cannot bear the idea of being separated, their beautiful duet, “Still” reflecting on their long life together.

Like a scene out of a Shakespearian tragedy, the four men in charge – the Architect, Thomas Andrews, First Officer William Murdoch, J Bruce Ismay and Captain Edward Smith - gather to discuss the unbelievable truth. The blame game begins: ice warnings ignored, reckless speed, the order for hard-a-starboard instead of hitting the berg bow first, too few lifeboats for aesthetic reasons, so as not to clutter up the first class top deck. The “practically unsinkable” Titanic was described as being its own lifeboat.

Hardly showing any despair or guilt, Ismay wears a mask of gentlemanly charm behind his arrogant bumptiousness. He stands in his bowler hat as if going to work in the City amidst all the panic of rope pulling as women and children are lifted into boats while husbands bid goodbye with optimistic spirit - “We’ll meet tomorrow .. we’ll be together once again.”

By focusing on the personal lives and loves, the emotion and trauma, the entire ensemble of superb actors and singers portray each character with such passion and insight. The action flows along smoothly with the rousing score performed by the six piece band.

This is a story about human endeavour, human error, faith and fallibility which resulted in the loss of around 1,523 men, women and children. Premiered in 1997 on Broadway, the award winning “Titanic the Musical” remains a

powerful, poignant, truthful, and ultimately, terrifying modern opera staged with majestic realism and heartfelt theatricality.


Deservedly recommended; only a heart as cold and unshifting as an iceberg wouldn’t melt to this production’s persuasive authority.
An additional irony to the already hubris-laden Titanic tragedy is that its revolutionary design made it the safest ship afloat – which it was. Albeit, immediately up to, but not subsequent to hitting a colossal iceberg at 22 knots – because then, self-evidently, it was neither safe or to remain afloat.

The definitive cinematic account still remains A Night to Remember (1958). The most conspicuous being James Cameron’s – Oscars by the barrow-load, tear-jerker –Titanic (1998). The iconic mise-en-scène where dashing doyenne of the Irish diaspora, upstart parvenu Jack, lends romantic wings to the gushing Rose on the sun-setting prow of the noble vessel is indelibly underscored by My Heart Will Go On. Unforgettable, as is the needling, plaintive Celtic refrain right up to the blub-fest denouement. To create a musical adaptation of such a disaster might be pushing good/bad taste, luck and The Fates to extremes. Operas have had a bash at these sort of challenges – but really, needed to lighten things up a bit. What of ‘Oedipus Rex! An eye-popping song & dance spectacular’ or ‘ Elektra – A family show with lyrics to die for!’. It’s a big ask – one of those chancing your luck, ‘putting out the deckchairs’ moments.

However, even the most wizened of cynics or the justifiably historical pedant might be caressed into submission by this accomplished, intelligent and humane interpretation of that dreadful night’s events. It has an elegiac dignity and shrewd essence of both operatic and operetta momentum. Class, social deference, knowing one’s place segue with thoughtful, often acerbic nuance and gentle wit. Romance blooms for both young and old; till death do they depart with wrenching immediacy. Women and children fade into the auditorium; subsumed within a chorus of poignant, shivering cadence.

Set and costume designer, David Woodhead, in tandem with lighting designer, Howard Hudson, exploit an ever-shifting dynamic of fluidity within the ship’s super-structured space with vibrant urgency. The climatic pitch of the sinking stern with ship designer, the tortured Thomas Andrews, mortified by his (unjustified) complicity in the disaster establishes the production’s conceptual footprint originality firmly on its own terms. Cpt. Smith was notified numerous times of icebergs, ‘The size of the Rock of Gibraltar‘. The look-out in the crow’s-nest didn’t even have a pair of binoculars. That the ship’s officer, William Murdoch, shooting himself remains open to fierce conjecture – James Cameron personally apologised to his surviving family for also portraying this incident. Memories and sensitivities remain ever volatile.

The proscenium arch is framed by muscular riveted panels, seemingly indomitable, impenetrable – the apotheosis of Edwardian technology. This later becomes an ingenious self-referencing tableau. As star-light spills through open rivet-hole voids, the impending iceberg collision drawing on apace, the ominous connection is made that freezing water will imminently burst through them. The original production opened on Broadway some six months prior to Cameron’s film release. Confident and sure of its own conviction and integrity, its damnably difficult not to become near utterly, and forgive the pun, immersed in this show’s sincerity and humanity. Some twenty years hence, it’s evident none of the songs have been troubling Spotify’s streaming capacity lately though this current national tour might just rectify that. The beguiling refrain from Autumn, reprised with poignant empathy, remains ever a ghost of whispering innocence in a cacophony of impending catastrophe. Deservedly recommended; only a heart as cold and unshifting as an iceberg wouldn’t melt to this production’s persuasive authority. John Kennedy

EDINBURGH -Titanic the Musical is one of the most powerful musical shows you will see with excellent performances from a talented cast and quite breath-taking production. Unlike the iceberg the RMS Titanic struck more than a century ago, Titanic the Musical is unmissable.

When I first read that Titanic the Musical was coming to the Edinburgh Playhouse I did wonder if it were a sign of the times that there is no historical event which can’t be the subject of a harmonious show. The story of how the ‘unsinkable’ ship sank in 1912 with the loss of more than 1,500 souls was one of the 20th century’s biggest tragedies. But while the audience already know the outcome of the story, the sub-plots contained within the ship’s demise are what makes this musical a highly-charged emotional affair.

In today’s high-tech age it can be difficult to imagine the wonderment and awe this huge ship created when it was completed in March 1912. It was described as the ‘biggest moving thing on Earth’. At nearly 900 feet long, a breadth of 92 feet and amassing nearly 50,000 tons, the RMS Titanic was the largest ship of its kind and was the ‘baby’ of the British shipping company White Star Line’s chairman J Bruce Ismay, whose story features heavily in the musical.

With such a magnificent creation of such a vast size, it’s easy to imagine just why so many people were convinced the ship was unsinkable and for the high society of the early 1900s the prospect of travelling from England to New York in just six days was hugely appealing.

In the musical, Ismay is played with some conviction by Simon Green with the shipping company chairman bursting with pride as he sails on Titanic’s maiden voyage. He is portrayed as the main villain of the piece, insisting the great ship increases it speed – against the advice of others – as it powers across the Atlantic. That Ismay managed to leave the sinking vessel on one of the lifeboats merely added to his villainous persona.

Philip Rham is superb as Titanic’s Captain, Edward Smith with Scot Kieran Brown playing the guilt-ridden William McMaster Murdoch, the First Officer who was the officer in charge when the ship struck the iceberg.

However, this isn’t just a story of how such a massive ship was hit by tragedy. Claire Machin’s performance as Alice Beane, having the gall to dance with first class passengers is a delight as is the touching story of Isidor and Ida Straus, (beautifully played by Dudley Rogers and Judith Street) an elderly couple still very much in love after many years. Their refusal to be parted as the ship goes down tugs at the heart strings.

The music throughout catches perfectly not only the sombre mood but those lighter touching moments and there is a touch of humour throughout the show which is quite impressive given the subject matter.

Where Titanic the Musical excels is its production. Danielle Tarento, Vaughan Williams and Steven M. Levy have captured the rawness of this tragedy quite brilliantly and it’s one of the best musical productions I have seen in years. When the shattering crack of the Titanic hitting the iceberg brought down the curtain at the end of Act One there was a highly audible gasp from the audience.

The highly talented cast helped, of course, and while there may be no ‘big name’ stars on show, every one of the cast performs with a passion and professionalism that does them huge credit. The story is one every member of the audience knows but the players still manage to invoke an emotional reaction from the hugely appreciative audience – the standing ovation at the end of the show was a testament to that.

The show lasts 2 hours and 40 minutes (including the interval) – the same time it took the Titanic to sink after hitting the iceberg. The first act was around 85 minutes which, perhaps, was rather too long but the second, dramatic act was just right.

Titanic the Musical is one of the most powerful musical shows you will see with excellent performances from a talented cast and quite breath-taking production. Unlike the iceberg the RMS Titanic struck more than a century ago, Titanic the Musical is unmissable.

Edinburgh Reporter: ****

Titanic The Musical proves skeptics wrong at Belfast Grand Opera House

THE iceberg hits with a powerful roar, the lights go out and it’s the interval – and it’s riveting.

Part one of Titanic the Musical is a frantic build-up to the ship's maiden voyage, the rich and famous on board first, then the gentry and finally the emigrants setting sail for a better life in America. The noise is raucous, the singing tremendous and the atmosphere permeates into the audience as passengers arrive through the auditorium.

Some people were sceptical – a musical about the Titanic? Sacrilegious. Well, they soon realised they were wrong. This is a stunning show and sticks to the facts and proves the point that truth is stranger than fiction.

The passengers had one thing in common: the joy of being on board the great and glorious ship, a city in itself, the legend they were promised.

Throughout the production you could hear every word said and sung, the small band sounded like a symphony orchestra and the lighting evoked so many moods, from the heat of the boiler room to the romance of the Palm Court. The set is minimal, just white railings set high above the stage, a set of white iron steps were moved from side to side to allow entrances to and from various parts of the ship, an ingenious design.

As the first act unfolds the tension rises, excitement gives way to panic: iceberg ahead.

It’s almost a pity to break the concentration with an interval but we’re soon back on board as the water levels rise. Real characters depicted by great actors say their goodbyes, officers and gentlemen hang behind as the upper-class ladies take the life boats. The question asked by Thomas Andrews, Bruce Ismay and Captain Smith is, who’s to blame? Tempers reach fever pitch. The Irish News

The actual sinking of the ship is breathtaking and very emotional for cast and audience. Some of the actors were visibly moved as they took their curtain call.

Above all the singing, the music and the lyrics by Maury Yeston, are all outstanding. I don’t mention individual actors simply because everyone on stage did a tremendous job and they are to be congratulated.

Anne Hailes The Irish News

Manchester: TITANIC at the Lowry

In this beautifully drawn musical at The Lowry, the focus is on the injustice of the class system, which is evident from the moment the passengers board this ‘unsinkable’ ship.

Their dreams and aspirations are clear from the start. Maury Yeston’s marvellous music and lyrics sweep us along as we hear the passengers’ individual stories, from the Irish passengers in third class embarking on an American dream through to Alice Beane (Claire Machin) in second class who wants to mix with the upper classes and will do anything to step into their shoes.

All the while, warnings about an imminent iceberg are being ignored or dismissed. The film focused heavily on the fictional Jack and Rose, with those in first class marked as the villains of the piece. The representation is more nuanced in this five-time Tony award-winning musical, with characters singing about the long-lasting legacies of their businesses and family lines. While they may take their lives for granted, they are far from the annoying posh people in James Cameron’s film.

David Woodhead’s costumes highlight the struggle between different classes incredibly well, while the levels he has created in his set design mean that we see people in third class on the same floor as the rats.

If you are expecting to see a huge ship and pyrotechnics galore, you may be disappointed. This musical is about the characters and their plight, and you do not need much in the way of smoke and mirrors thanks to Howard Hudson’s incredible lighting and Andrew Johnson’s subtle sound design. The actors are convincing, and the songs are evocative and moving mini stories in their own right.

More than 1500 men, women and children lost their lives. A musical version of this tragic event could easily come across as deeply earnest and almost distasteful, with characters singing about their impending doom.

But Peter Stone’s text has humour and moving moments in equal measure, and you really feel as if you know these characters. The overly confident captain (Philip Rham) who dismisses the people in third class does not change in a cliched way, but as the fate of the ship is left in no doubt, the fear on his face is quite chilling.

Filled with moments to savour and moving melodies, Thom Southerland’s production of Titanic The Musical treats the audience with respect and allows them to use their imagination. And with many theatres filled with jukebox musicals, some of which tick all the boxes but don’t need you to use your brain, the standing ovation following this show speaks for itself.

Glen Meads: I Heart MCR

Titanic – The Lowry, Salford
When composer Maury Yeston first announced he was going to write a musical about the Titanic, it was understandably met with scepticism. A musical about the biggest disaster in maritime history in which 1,503 people lost their lives hardly seems fitting. But instead of choosing to focus on the disaster, Yeston chose to focus on the people, delivering a soaring musical that is both accurate and respectful. No wonder it won five Tony Awards, including Best Musical when it opened on Broadway in 1997.

Based on real stories and real people, Titanic: The Musical is a story of dreams – dreams of building the greatest ship in the world, dreams of rubbing shoulders with the rich and famous and dreams of finding a better life in America. From the millionaire Barons in First Class to the Third Class immigrants desperate to start anew, Yeston, together with Peter Stone, has crafted a powerful, poignant and emotional piece of theatre, full of aspirations, hope, love, ambition and ultimately tragedy.

In terms of impact, the production retains the intensity it had on Broadway, although its set has been necessarily scaled down for the touring production. Here, David Woodhead’s elegantly two-tier design instantly evokes the feeling of being on a ship, with moving staircases allowing entrances to and from various parts of the ship. Howard Hudson’s evocative lighting design equally helps to delivers mood, but also spectacle as needed.

Peter Stone’s book is surprisingly historically accurate, as vital statistics about the ship are weaved into musical numbers such as Godspeed Titanicand when disaster eventually does occur, it is done with imagination and dignity by director Thom Southerland.

All of the 25 strong cast are excellent, bringing full voice and powerful characterisations to the 80+ roles that they play. Particularly good work comes from Greg Castiglioni as the ship’s architect Thomas Andrews, Niall Sheehy as stoker Barrett, Oliver Marshall as the telegrapherHarold Bride and Devon-Elise Johnson as passenger Kate Murphy. Southerland’sdecision to see the cast arrive through the auditorium also works particularly well, establishing a closer connection with the audience.

But the real star of the show is Yeston’s surging and melodic score, which is performed with power and poignancy by Mark Aspinsall’s six-piece band. Godspeed Titanic and The Proposal/The Night Was Alive stand out in particular for pulling on the heart-strings, with stunning vocal harmonies by the ensemble cast.

If you’re willing to look beyond its title, there is plenty to love about Titanic The Musical. A modern musical masterpiece about a legendary piece of history.

The Reviews Hub: Donna Kelly

The sinking of the RMS Titanic in April 1912 is one of the most tragic maritime events on record, where sadly 1517 souls were lost. Many will know and have watched James Cameron’s 1997 Oscar-winning film, Titanic, starring Kate Winslet and Leonardo DiCaprio. The same year as the blockbuster film, Maury Yeston’s Titanic – The Musical, opened on Broadway, winning numerous awards including a Tony Award for Best Musical. The musical, based on Peter Stone’s book, isn’t a factual narrative about what exactly happened to the “unsinkable ship”, instead, there is a specific focus on the characters on board.

The narrative in the first act follows the characters’ dreams, hopes and aspirations, including those who are planning to make a life in the New World, such as The Three Kates as in the song Lady’s Maid (Emma Harrold, Devon-Elise Johnson and Victoria Serra). There are those who are planning to propose to their loved ones, as sung by Frederick Barrett (Niall Sheehy) in The Proposal/The Night Was Alive, while Lady Caroline Neville (Claire Marlowe) and her fiancé Charles Clark (Stephen Webb) are eloping to America, sharing their love in I Give You My Hand.

As representatives of the class system on board, the characters could not be any more different. The Third Class passengers are seeking a better life in America while the Second Class passengers such as Alice Beane (Clare Machin) whose husband has done well with his business, were able to treat themselves a trip of a lifetime. Alice is a social climber and aspires to be among the First Class, the movers and shakers, the billionaires such as the Straus’s (Dudley Rogers and Judith Street). Also not to forget Captain Edward Smith (Philip Rham), J. Bruce Ismay (Simon Green), Thomas Andrews (Greg Castiglioni) and William McMaster Murdoch (Kieran Brown) who all open their minds to their thoughts and feelings about the ship and passage itself. They are involved in the crucial decision making as reflected too late in The Blame.

The score includes the memorable Goodspeed Titanic and the poignant The Foundering which mourns and remembers those lost at sea. Thoughts and expressions are sung in varied musical numbers which are sensitively constructed for the passengers and circumstances, from the optimism and normalcy during the first act through the second act which is fast moving and poignant, predominantly concerning the Titanic’s fateful final hours.

David Woodhead’s stunning staging compliments this production, with its steel hull, its railings and stairways and ropes certainly giving the ambient feeling of being on a ship. The set coordinates well with Howard Hudson’s lighting and Andrew Johnson’s soundscapes, while the staging space is imaginatively used by the cast under the moving direction by Thom Southerland and musically by Mark Aspinall and the live orchestra.

The cast is formed of performers who have been successful in London West End’s theatre, the Southwark Playhouse or the Charing Cross Theatre productions of Titanic – The Musical. This stellar cast gives first class portrayals of the characters and together with the ensemble share a wonderful chemistry in telling this unique experience.

On the night of this review, the production was received well by the audience and credit must go to the cast and also the creative team. Titanic – The Musical offers a window of opportunity for the passengers onboard to dream and aspire to something more, although fated and unknown at the time, how this journey would change their lives forever. Dawn Smallwood - SHEFFIELD

Titanic: The Musical – King’s Theatre, Glasgow
“This is a work of infinite quality, wonderfully researched, that manages to stir the heart and soul.”
While the subject matter may seem unlikely (an event where 1517 people lost their lives), even morbid, composer Yeston has himself claimed that the musical isn’t based on tragedy alone. Instead, it represents the hopes and dreams of all those on board: the 3rd Class passengers, their dreams of immigration to a new life; those in 2nd Class with their aspirations to live life like those in 1st Class; the 1st Class passengers hoping to forever maintain their positions of privilege in the New World. Writer Peter Stone achieves this. There’s yearning, optimism and a finger firmly on the pulse of society (both high and low) in the early years of the 20th Century.

It also neatly catalogues the seemingly endless list of wrong decisions that set the ship on its tragic course, the desire to make history eerily prophetic: ignoring warnings not to push the ship hard; constantly pushing the speed; ignoring almost constant warnings of icebergs from fellow ships on the same journey; the feeling of invincibility over common sense; changing course to save a few hours (to get some publicity) which puts the ship on a collision course with tragedy, the list is too long to chart here. This is a work of infinite quality, wonderfully researched, that manages to stir the heart and soul. These are the stories of the real people who boarded the ship for that fateful journey, this is no lazy dramatization.

Whilst written by Americans, this is a uniquely British story. Stylistically the music too is quintessentially British: heavily influenced by both Elgar and Vaughan Williams it is simply beautiful. The ensemble shine and when singing as one, have the ability to raise the hairs on the back of your neck.

In a cast that is uniformly excellent, it seems churlish to single out any member but Matthew McKenna as First Class Steward Henry Etches is an actor of exceptional quality, who is infinitely watchable throughout. That said, this is one of the finest quality casts to tour the UK in many years.

If any criticisms can be levelled at the work it is the sheer number of characters who appear, as each is given their moment, it makes the running time a hefty two hours 40 minutes, that said, this is also laudable as it gives voice and equal weight to every type of passenger and crew. The actors do a fine good job of paying respectful tribute to these real people’s lives, Titanic: The Musical truly has the power to move.

Don’t be put off by the subject matter or puerile previous adaptations of the story on screen, this is a respectful, perfectly judged piece of writing that packs a huge emotional punch.

Lauren Humphreys