TITANÍQUE Reviews — Page 3

I won lotto for tomorrow night lol.

“Shall We Go For It?” How ‘Titaníque’ Sailed From a Grocery Store Basement to Broadway | Vanity Fair

https://www.vanityfair.com/hollywood/story/how-titanique-sailed-from-a-grocery-store-basement-to-broadway

Anyone who has been recently can tell me when they got out? I know the internet says 100 minutes. I have tickets to Dog Day Afternoon at 7 and this is at 5. I don't think I want to risk it as it's 8 blocks between the St. James and the August Wilson and I'm not sure if there is enough time but was curious what the current run time was

Matt Rogers said: "schubox said: "Anyone who has been recently can tell me when they got out? I know the internet says 100 minutes. I have tickets to Dog Day Afternoon at 7 and this is at 5. I don't think I want to risk it as it's 8 blocks between the St. James and the August Wilson and I'm not sure if there is enough time but was curious what the current run time was"

Various people have said it runs closer to two hours. I don’t recall it being that long but it always starts a little late. I’ve seen it several times. One night lastweek, it started 20 minutes late."

Ah, yeah definitely not worth it then. Thanks

chrisarneson said: "The Times mentioned it in their review but I'm surprised more people haven't mentioned this but Marla sounds incredibly vocally rough. In the basement version, part of the impression was that she could actually sound like Celine singing well at times. On Broadway, it is all her doing the weird voice and the vocals are pitchy and strained at best. Surprisingly, the show is at its best when she (and Frankie Grande) are off stage. Layton Williams really is excellent and I see why they won the Olivier."

I actually very much agree with this. I’ve seen Titanique three times before Thursday but never with Marla. Was so excited to finally see her and found her just “fine.” The show in general was great though and somehow improved from it being off-Broadway (but still a hair too long).

It's on Broadway with the sole purpose of touring. They want the Broadway designation to be able to be in the main theaters across the country that they wouldn't get otherwise.

I’m a nutcase who has seen the show 23 times (2x gristidies, 20x DR, 1x Bway) and I cannot even place what you could be talking about.

In general, I think the show is made lovingly towards Celine and her talents and music. If you wanna message me about the part you’re talking about in caseit’s new, feel free!!

Updated On: 5/1/26 at 05:23 PM

kdogg36 said: "Does one of the visual gags seem to reference Celine Dion's well-publicized health issues? I actually don't want to describe the details in case it's all in my head; I'm just curious if anyone else had the same thought."

Respectfully, no.

Seeing on social media that there is drama brewing from castmembers of the original basement production. Accusations of joke-stealing, shady behaviors by the authors, and legal action by Equity because the producer has refused to pay the original cast a contractually-mandated buyout (a couple weeks' Broadway pay for those who didn't get an offer to move with the show).

But maybe this is just loud, disgruntled actors.

I think taking action if right of first refusal is not honored if the right thing for actors to do. They deserve to be compensated.

But why air this on social media while it’s happening? There’s this toxic, attention seeking behavior that’s popular now where people like to call out things on social media and get likes and reshares instead of pursuing the actual action you are supposed to through unions.

And if that action is being taken and still in progress (which seems to be the case), it can’t be good for your to be airing dirty laundry like that before anything’s been addressed through proper channels. It certainly doesn’t make you an actor anyone’s going to want to work with if this is how you handle grievances.

The original actors should be bought out but some of these social media call outs feel like an attempt to latch onto the existing production for engagement when they know deep down they were never going to do to Broadway with it. Titanique’s Broadway run is a huge crapshoot and I think everyone thinks it’d be a miracle if producers recoup. It was never going to make the move without big names attached to help gain interest and press placements.

Kathy Deitch has been the most prominent voice in all of this

I just read through some comments on Kathy Deitch’s posts. She herself has admitted on social media that her original contract had an in perpetuity clause and no right of first refusal. That contract was negotiated by her own agents, so it seems that she knows she has no grounds to stand on.


It really feels like an actor who is not getting work and cannot sit with the (admittedly harsh) reality of stunt casting here just trying to gain validation and relevance and a consolation prize.



It does suck for her…but she was NEVER going to make the Bway transfer unless like—Marla stepped aside and their stunt cast was Ariana Grande as Celine, lol. This Broadway transfer is a major crapshoot that likely won’t be lining producers pockets much if at all.



When your own agents negotiates these terms for you—then coming back and blaming a producer & creative team for following the terms of a contract you personally signed that was negotiated by an agent you paid is…a bit unfair.

Updated On: 5/9/26 at 01:25 PM