Oh, Mary, what has Broadway become?
You might think playful outrageousness is now the norm with this month’s wave of musical openings that take audiences into the extreme realms of parody, play and interactivity.
The opening of the cult hit “Titaníque”— the musical spoof of the 1997 Oscar-winning smash “Titanic” — is the latest theatrical evidence that one can be stupid and smart at the same time.
Originating in L.A. in 2017, before docking in NYC in 2022 in the basement of an abandoned Gristedes, the show which was developed by a bunch of inspired and nutty pals, quickly found its word-of-mouth following and soon found its way to larger downtown venues, then to popular runs in other cities here and abroad.
But the question remains: Will its plucky, no-frills specialness be lost with its move from theatrical steerage to Broadway first-class?
The creative team of the show has carefully navigated this crossing, upgrading the show’s production values just enough, adding a bit of star appeal (Deborah Cox, Frankie Grande, and especially Jim Parsons, a deadpan delight in semi-drag) and dialing up the music a few notches without going overboard.
The conceit of the anything goes show — recalling another nautical trifle — remains deliciously daft with Marla Mindelle as the French-Canadian diva Céline Dion narrating her own loopy, self-centered version of the James Cameron’s Romeo-and-Juliet-at-sea romantic tragedy.
Audiences needn’t know the specifics of the film’s story — or the onslaught of cultural throwaway jokes — to get the narrative gist within the madness.
mainly it’s a non-bio jukebox musical like “Mamma Mia!” but one that’s veered way off the spindle. It primarily taps into songs from Dion’s music catalogue, with additional nonsequitor songs like “Beauty and the Beast” and “Who Let the Dogs Out” that simply pop out of nowhere just because that can. There’s also faux guest appearances by Peabo Bryson, Lenny Kravitz and most magnificently by a Tina Turner (an astonishing Layton Williams) as the fateful bitch iceberg that dooms the vessel and raises the “Titaníque.”
Mindelle — who co-authored the show — is sensational, nailing Dion’s quirky, sly-eyed, “kooky-crazy” persona with assured ease. With a bumpy Quebecois accent, the slightly demented chanteuse slips in and out of the story, tapping into her Vegas-styled, power ballads and narrating the story of what really happened to the film’s characters on the ocean liner on that fateful 1912 voyage. (Hint: She was there on board, making her around 150 years old — but who’s counting?)
This manifest includes Jack Dawson, played by Constantine Rousouli as an aging twunk who knows how to fill and show off his slim-fit khakis. Yet another of the co-scripters, Rousouli amps up the Leonardo DiCaprio, perfect-hair, aw-shucks boyishness to hysterical funny heights. His deranged drowning scene is brilliant and totally bonkers.
Many of the film’s iconic poses, props and dialogue are present and ready for mockery: there’s the Heart of the Ocean necklace (more like an anchor here); the king of the world railing scene, the steamy backseat sex and the floating door raft.
As society gal Rose DeWitt Bukater, Melissa Barrera has freewheeling fun with Kate Winslett’s unhappy bride-to-be character. As Rose’s aristocratic, Grindr-loving fiancé Cal, John Riddle is one long running metrosexual joke, but he can also deliver the musical goods with an impressive “I Surrender” solo.
But everyone in the show has stunning vocal chops, including Cox as the Molly Brown who makes waves with “All By Myself”; Grande as “Victor Garber,” the ship’s oblivious and idiotic captain who belts out “I Drive All Night” before finally crashing; and, of course, Williams who out-divas Dion with “River Deep, Mountain High.” As Rose’s impoverished yet imperious mother Ruth, Parson’s dry deliveries offer great comic ballast to this ship of fools.
The mixed bag of humor here isn’t so much biting as nibbling, less socio-satire and more “Forbidden Broadway.” The jokes — good, bad and cheap — come non-stop in then show’s 90 minutes, and are filled and sometimes pummeled with pop culture and brand-name references, puns, anachronistic humor, and naughty bits. (One can only laugh at so many “seaman” gags.) Every entendre is doubled down and the show has the most corn on Broadway since “Shucked.”
But as delivered with confidence and staged with whiplash intensity by Tye Blue (yet another co-scripter), one can almost be duped into believing the jokes are clever as hell. With charisma, uniqueness, nerve and talent — to borrow RuPaul’s mantra (the lipsynch-for-your-lifeboats number is a highlight) — the comic ensemble makes the gags work by sheer will.
Advertised as a strictly limited run, the show’s established and Millennial-friendly fan base should be coming back for seconds and the Broadway gig will give cachet to future cruises. Overall, while the musical is not quite a night to remember, let’s just say the show is, well, fantastíque.
Source: variety.com
