Titanic

“Titanic”, like the ship of the same name, is a musical of epic proportions. Featuring a cast of over 90, and an orchestra of 27, the Southern Light took this 1912 tragedy and, with deserving sensitivity, broke it down into individual recollections of happier times in the first Act, before tragedy occurs at the end. With no less powerful drama, Act Two builds on the realisation that the “unsinkable” Titanic is about to prove it’s designer and builder, Thomas Andrews, wrong.

Every cast member is a named member of the ship’s passengers or crew, and therefore space prohibits me from mentioning them all – no matter how much I would like to do so! I must therefore, content myself with mentioning some of the many highlights of the show.

Over the years, the Southern Light has become synonymous with excellent singing – both choral and principal – and this year was no exception. Early in the show “Godspeed Titanic” performed by the full Company gave an indication of the high quality of David McFarlane’s musical direction – a trait that did not falter throughout.  Principal singing was strong, with a few songs being particularly memorable. “The Night Was Alive” sung by Stoker Barrett (Craig Young) and Wireless Officer Harold Bride (John Bruce), “I Have Danced” by Alice and Edgar Beane (Judith Walker and Stephen Boyd), and the closing number of Act One  “No Moon” led by Lookout Frederick Fleet (Darren Johnson) each in their own way being particularly evocative.

Act Two features yet more dramatic and moving numbers. I am sure the audience will remember “The Blame” where the owner of Titanic, J Bruce Ismay (Charles Leeson-Payne), Captain E J Smith (David McBain) and Thomas Andrews (Keith Kilgore) each attempt to point the finger of  blame for the, by now inevitable, demise of the ship. My personal favourite in the show “Still” by Ida and Isidor Straus was given exquisitely touching treatment by Dorothy Johnstone and David Mitchinson – for the moment, after the duet finished and before the well-deserved applause, you could have heard a pin drop in the auditorium.  Finally, I can only offer my heartfelt congratulations to all other members of the cast for first class, individual characterisations and performances, maintained throughout the musical.

To move on to the technical aspects of “Titanic”. It is always very easy with the wealth of technical equipment available today, to flood a show with effects, both lighting and audio, which can take over from the actors’ performances – not so here. The lighting was well planned and the sound was sympathetically operated, both of which made a generous addition to this large scale musical, without ever becoming distracting. Sets were excellent – the treatment of the sinking being simple, but nevertheless believable, for a large-scale, but necessary, effect in the show. Costumes, too, could not be faulted, each being totally in period.

The production team for “Titanic” must receive the final accolade. Director Andy Johnston and Musical Director David McFarlane for their handling of this large cast and producing some lovely stage pictures and immense sounds. Louise Williamson too, for choreographing some spirited dances throughout the show.

Many thanks SLO for inviting me over from “the Kingdom”, and presenting such a superlative-inducing show!

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