Review: Upon entering The Grand Electric theatre in Surry Hills for Titanique, I expected a unique theatrical experience, but what unfolded was a comedic and musical triumph.
This jukebox musical, fuelled by Céline Dion’s iconic anthems, offers a brilliantly reimagined and hilarious twist on the Titanic saga. In the show, Dion takes centre stage by hijacking a museum tour, boldly claiming she was aboard the Titanic and survived its sinking, all while sharing her own wildly entertaining version of that fateful night.
Actor Marney McQueen shines as Dion, commandeering the narrative with magnetic flair. Alongside her, a vibrant cast, including Drew Weston as Jack Dawson and Georgina Hopson as Rose DeWitt Bukater, delivers heartwarming and uproarious performances.
The musical prowess of the cast is undeniable. Abigail Dixon, as Mollie Brown, and McQueen, as Dion, hit impressively high notes that resonate well beyond the theatre’s intimate setting.
The set design’s simplicity, with iceberg-like lights, octagonal mirrors, and porthole windows, paired with quirky props like a rubber eggplant, toy car, laser tag-style gun, and an oversized faux blue diamond, highlights the production’s inventive creativity.
What sets Titanique apart is its unapologetic campiness and humour, with witty lines and cheeky references to twinks and closeted gayness. A staged mental breakdown by Rose’s mother Ruth (played by Stephen Anderson) is a standout performance that is as humorous as it is theatrical.
During one of the shows I attended (I saw the musical twice), a missed sound cue during one of Anderson’s scenes turned into an impromptu comedic moment that left the audience in fits of laughter for at least 15 seconds, showcasing his adaptability and timing. His breaking of character during this moment made the experience even more memorable – it was so funny he couldn’t help but laugh at himself.
References to pop culture phenomena like RuPaul’s Drag Race and clever, sexualised jokes permeate the script, ensuring the laughter never stops.
The ability of several actors with multiple roles to switch characters swiftly and convincingly adds an extra layer of enjoyment that keeps the audience engaged throughout the show. Abu Kebe masterfully portrays both the iceberg and the seaman, while Matt Lee effortlessly transitions between Captain Victor Garber and another character, whose hilarious identity I’ll keep a surprise to avoid spoilers.
The theatre’s intimate setting, while cosy, can pose a bit of a challenge for taller individuals like myself, as long legs tend to crowd the aisles or even the edge of the stage. However, this closeness to the action only deepens the immersive experience.
It’s a minor quibble, but the layout makes every seat near the stage feel like part of the show, especially when the cast moves through the audience, occasionally interacting with you directly.
The vibrancy of the LGBTQ+ community in attendance speaks volumes about its appeal. Titanique might just be the campest musical of the year, a glittering celebration of all things melodramatic and melodious.
But it is not just a musical. It is a joyous celebration of storytelling and theatrical flair. If you’re not smiling by the end of this 90-minute extravaganza, you might just hate fun. For anyone who loves a quick, witty, and delightfully camp performance, Titanique is a must-see.
Tickets start at $75 + booking fees and are on sale until December 1 at titaniquemusical.com.au.
Gay Sydney News editor