Titanic

“Titanic” is a musical with Music and Lyrics by Maury Yeston and Book by Peter Stone. It opened on
Broadway in April 1997, winning five Tony Awards and running for 804 performances. It is not connected
to the 1997 film of the same name.

Director Pyper set the scene with a large wreath preset on stage and inviting the audience to stand for a
minute’s silence to remember all those who have been lost at sea. Then came the dramatic Overture
leading into “The Launching”, where passengers begin to arrive, meet the Captain, and board the “Ship of
Dreams”.

The simple Set was the expected ‘Bridge’ centre back with steps on either side. It was well painted by
Carla Hodgkins to be appropriate to any scene with differing Props as necessary. Costumes were lovely –
lent by several of the region’s amateur societies and by individuals. They were of period design and mostly
muted colours with the odd pop of red; hairstyles were also of the era. Sound was difficult – with most of
the music being played by the large orchestra, body mics were set pretty high which actually makes the
diction of actors and singers more difficult to decipher – which was a pity. Lighting was dramatic and
effective - the red lights to indicate the furnace in the boiler room were very effective as were many other
effects. I particularly noticed the arc of light coming from the mirror ball a couple of times which was
beautiful.

The large cast were each individual characters who we grew to know and care about. The three leads were
Thomas Andrews – in charge of the plans for the ship at Harland & Wolf shipbuilders in Belfast; Bruce
Ismay – Chairman and owner of White Star Line; Captain Smith – persuaded out of retirement to captain
Titanic’s maiden voyage. Tai Hill (Andrews) who had sailed to observe the ship’s operation, was strong
with inner integrity. When the ship began to sink, he was devastated that he had compromised safety to
please the owners. Tai had several solos including the climactic Andrews’ “vision” and sang with great
conviction. Dara Lawlor (Ismay) was really convincing as the “villain of the piece”. He showed himself to
be an arrogant man as he pushed the captain for more and more speed to enhance the White Star Line’s
success and reputation, without considering passenger safety. His contrapuntal trio with Andrews and the
Captain – ‘The Blame’- was excellent. As Captain Smith, Sean Cooper really looked the part, and he
showed the pressure – struggling over the conflict with Ismay and the safety of the passengers.

First Officer Murdock (Jay Lowey) was rather low key. He was Captain Smith’s right-hand man and
passed orders from the bridge but lacked confidence to lead. Jay showed himself to be riven with guilt
when he realised that he gave the order which resulted in the ship sinking. Harold Bride (Danny Gibson)
was a shy wireless officer who desperately tried to summon help when Titanic hit the iceberg. Danny’s
duet with Aodhan Halfpenny as stoker Frederick Barrett” The Proposal/Night was Alive” was a highlight.
Aodhan was the strong and capable young man who questioned the decisions from the bridge to increase
speed on a maiden voyage.

Young Isaac Pyper followed the family theatrical tradition by playing the Bell Boy (I’m sure there were
many on an ocean liner). He fully entered into the spirit of the piece and was always willing and cheerful.
If he has caught the theatre “bug” I’m sure will see much of him in the future! Prominent all the way
through the show was Finn Harding as Etches – senior steward to First Class passengers. Finn maintained
a subservient but “nose in the air” attitude – taking care of ‘his’ passengers, even in the face of death – a
very consistent portrayal. His scene with the Straus couple was very moving. Isador Strauss (Jack
Cranston) and his wife Ida (Lauren Picking) were a devoted elderly Jewish couple (owner of Macys’
department store) and their duet “Still”, capturing the very essence of enduring love, was well delivered

and very poignant. Other first-class passengers were well portrayed – Benjamin Guggenheim (Diarmuid
Mainwaring), Mme Aubert (Jessica Candy), Madelaine Astor (Rebecca Murray), Edith Corse Evans
(Stevie Leigh Doake), The Thayer Family (Adam Patterson, Lucy Wallace & Jack Higgins), Charlotte
Cardosa (Lainey Workman), George & Elenor Widener (Michael Walker & Alexa Thompson), JH Rogers
– a gambler (Samuel Milford), and The Major (Nathaniel McCrackin) - each showing good individual
characterisations. The first-class Stewardesses all fulfilled their roles according to character as did ‘staff’
in all classes. Second class passengers did not feature so much – Rachel Issard as Mrs Martha Hiltunen,
Aizan as Charles Clarke, Ruby Donaldson as Caroline Neville and Cara Molloy & Caoila Cushnahan as
Mary & Irene Corbett all performed well. The role of infamous Alice Beane – socially ambitious gossip –
was played with great energy by Clodagh McLaughlin. Her role offered comedy relief to a pretty dark
show and her always smiling face was a pleasure to view. Her husband Edgar (Jay Ray Choudhry),
although good hearted, was often exasperated with his wife as he was not interested in impressing
anybody!

Third class passengers were mostly fleeing poverty in search of a better life. The three Kates (Evie
Gillespie, Polly Cochrane and Ailia Cairns) made a lively trio and their “Ladies Maid” went down a storm!
Mr & Mrs Da Mico (Andrew Montgomery & Maie McFall) were the professional dancers on the ship and
did a terrific job heading up the Irish Dance with the third class (proper Irish dance by Andrew!) and “The
Latest Rag” on deck with First Class.

Titanic, the stage musical has a huge cast – so many that I cannot mention everyone - but each had a real
character to portray. The whole cast deserved the standing ovation it received as the show came to an end.
Intricate harmonies were very well handled, and songs often replaced dialogue to advance the story and tell
of the lives behind the wide variety of crew and passengers. Keith Pyper’s Orchestra (situated on the
balcony at the back of the auditorium /church played the sumptuous score with rich professional quality.
The script, under the direction of Wilfie Pyper, brought out the class distinctions of the era and, although
the stage was small, allowed the magnitude of the piece to show. Choreography by Sarah was mostly
managing the movement of the masses(!) but when she had a chance to set the joyous dance numbers, she
excelled.

I have seen this show at least half a dozen times but this production was really heart wrenching. Even
though you know the tragic fate of many of those on board, the individual portrayals and overall energy
was amazing, and I thank everyone involved.

Sheelagh Hobart
NODA Regional Representative for Ireland

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