I find it astonishing that the story of the Titanic has such a high-profile, now more than 100 years after its fateful maiden voyage. It’s equally astonishing that it has taken 16 years for this Maury Yeston musical to get a London production (sorry, Bromley, but you are in Kent!). It turns out that, in telling the tragic story, this musical is way better than the somewhat pompous and overblown film and this showcase is long overdue.
It tells the story of the tragedy very well, bringing out the conflict between the owner, the shipbuilder, the captain and other crew members, but it’s even better bringing out the personal stories of the passengers and crew through the ship’s own class system. Third class is full of hopeful immigrants, second class has social-climbing holidaymakers and the rich and famous occupy first class.
Thom Sutherland & Cressida Carre’s staging is simple but clever. I particularly liked the owner’s relentless pressure for speed staged as a series of dinners; the conflict between owner, builder & captain trading blame-laden one liners; the choreographed transfer of ladies into lifeboats and the eventual tilting of the ship. David Woodhead has designed an elevated ship’s deck in front of a metal wall, some movable steps and a handful of props which do everything that’s needed.
Yeston’s score is excellent, especially in the company numbers. It has a pleasingly unBroadway, somewhat British sound and the string-heavy band under Mark Aspinall played gloriously. Andrew Johnson’s sound is amongst the best I’ve ever experienced in musical theatre. Danielle Tarento’s casting is again outstanding and it would be invidious to single anyone out as there are so many fine performances and an ensemble that shines.
When will a commercial producer give Thom Southerland a big West End musical? As this shows, he’s as good as any – and Southwark Playhouse continues its indispensable contribution as a bigger-than-most fringe musical venue.
Gareth's Culture and Travel Blog 
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