This review comes a few days after revisiting the show. The post-Pride in London blues have hit hard and, quite frankly, I didn’t want to let go of the Heart of the Ocean.

First off, I have absolutely nothing bad to say about Titanique. Its identity is cemented. It’s loud, brash, unapologetically LGBTQ+ supporting, the vocals are sensational, and I genuinely hope the cast are having as much fun on stage as the audience are having watching it. Somehow, underneath all of the madness, it still has heart.

The plot? Everything you know and love from Titanic… Oh, and Céline Dion was onboard. That’s it really.

When I first visited, the show ran straight through with no interval. Now it has one, and yet somehow people still can’t hold it in for the duration of Act One. That’s my only gripe really.

Pacing? Impeccable.
Comedic timing? Indomitable.
William Hanson as Ruth? Impenetrable.
Having a bad time at Titanique? Impossible.

I am strongly of the opinion that when something knows exactly what it is, throws itself into the chaos, and knows when to stop before being strangled by its own bungee cord, you can’t really argue with the results.

A musical about one of history’s most tragic accidents, powered by a Céline Dion soundtrack, should not work.

And yet somehow, Titanique absolutely does.