Theater Review: Drama Guild’s Regional Debut Of ‘Titanic: The Musical’ Is Riveting Theater

 We all know how it ends. Everyone I ran into at opening night at the Chatham Drama Guild’s production of "Titanic: the Musical” said that. And it’s true we all know the tragedy of the seemingly unsinkable ship. Some audience members even showed up wearing life jackets. 

 But this was a version I was unfamiliar with. No Jack or Rose. Not even the Unsinkable Molly Brown is here. But the musical is just as poignant because as we meet each character, we already know what fate awaits them. The mistakes that were made because of the arrogance of the owner, the inability of the captain to stand up to him and the architect behind the magnificent ship who was left in the dark, are all shown, too. It’s a sad, sad part of history. 

 Landing the regional premiere of the musical is a big deal for the Chatham Drama Guild. With that in mind, we felt like we were witnessing a real-life version of “The Little Engine That Could”: the “little theatre that could” had climbed the hill and then some. It’s a fantastic production.

 This cast of 20-plus local performers sang their hearts out, nailing number after number. The music and lyrics were written by Maury Yeston (credited with “Nine” and “Grand Hotel”) and the book is by Peter Stone, who also wrote “1776.” 

Scott Hamilton’s set design included a gangway, on which each announced guest could promenade onto the ship. Along with the ship's deck, there is also the bridge with a ship’s wheel, and across from that the telegraph room. My theater companion noted that it was nice for the Chatham audience to see Marconi’s invention get repeated recognition in the play.

 One of the most powerful numbers was “The Blame,” sung by the three men responsible, each in their own way, for the tragedy. Beau Jackett, Alex Lucchesi and Scott Hamilton as Mr. Andres, Mr. Ismay and Captain Smith, respectively, admitted their culpability in this song. We were equally touched by the elderly couple Isador and Ida Strauss (Joe Theroux and Sheila Jamieson) singing “Still.” The “three Kates” (Julia Morgan, Violet Hellstrom and Amy Clark) showed us another layer of the tragedy in a simple yet powerful way. Thom Dutton was also great as Bride, the telegraph operator. Getting to know each character made the ship’s sinking even more unsettling, and each actor gave their character a distinct face and personality. They are Lizzy Smythe (in multiple roles), Andrew Haber (in three roles, with Etches sticking in my mind the most), Calla Hellstrom’s Bellboy, Kimberly Matthews (Alice Beane, a character who while starstruck was also grabbing every bit of gusto she could), Todd Cashdollar (her patient, loving husband), Peter Eldredge (Jim Farrell, the young man who falls in love for the first and last time), David Mitchell (Barrett) and Violet Skinner (deck hand). On the bridge, Murdoch (Bragan Thomas) and Lightoller (Ann Frechette) did the best they could amidst the power struggle between those in charge. 

 The ensemble numbers were powerful, with strong voices throughout. The orchestra also deserves considerable credit. Great job to Megan Anthony (conductor and pianist), Misao Koyama (synthesizer), and Simon MacBride (percussion). 

 Director Pam Banas was understandably beaming in her introductory speech. Undertaking a show of this size is an ambitious endeavor, and the results are fantastic. Not only did Banas direct the show, she was also responsible for the detailed costumes. Hamilton was the light designer and Don Howell designed the sound. And the busy light and sound operator was Rachel Banas hitting every cue. 

 The show is a bit over two hours long with an intermission that’s long enough to grab a drink from the bar. Request a cabaret seat for the full experience!