TITANÍQUE Reviews — Page 4

From Alex Ellis' Instagram:

"We all helped write that show. Six years of laying brick.

Reading after reading. Made it happen out-of-pocket. MANY HANDS ON DECK.

Many people added to that book. Many people helped not make it offensive.

You were shunned if asked for a writers credit. It would be NADA without the basement. Congrats to my inner circle OG's. We know."

Kad said: "First refusals are typically part of the Equity contract- somebody's agent can't negotiate that away (and if they even wanted to, you should fire them)."

“The Off Broadway contract has no first right of refusal built in”

“I had the worst agents at the time who let an in perpetuity clause get through”



Two comments directly from Kathy Deitch on her post from April 14th.

The producers are probably trying to use the line "as its first subsequent production" as leverage, since the show has played the Daryl Roth, London, Australia, Canada, and France after the original UCB Basement production.

ErmengardeStopSniveling said: "The producers are probably trying to use the line "as its first subsequent production"as leverage, since the show has played the Daryl Roth, London, Australia, Canada, and Franceafter the original UCB Basement production."

Yes, I would agree. There also does not seem to be ROFR language for an off-Broadway to off-Broadway transfer, which would've covered Deitch for the transfer to the Roth. Perhaps that is what she's talking about.

A perpetuity clause means that the affected contractual terms are in effect forever. I worked with AEA contracts for a number of years in a previous job and I honestly don’t know what specifically she would be referring to here. It wouldn’t have come from an Equity contract, but from either a rider to the contract or a separate contract entirely. But generally Equity doesn’t allow for riders that eliminate or undermine their contractual terms so I’m confused by that.

The basement production was most likely on that off Bway contract- it was a consolidation of a number of smaller contracts about a decade ago to streamline contracting smaller productions in NYC.

But regardless, it is generally the case that the Equity contract would supersede any other prior agreement that was made. Otherwise, members could be potentially coerced into signing things away by producers prior to signing their union contracts.

Kad—I don’t doubt the veracity of anything you’re saying here, but Deitch herself has said multiple times that she did not have ROFR in her contract and that her agents at the time negotiated it to be in perpetuity, which—even if this makes the contracts a contradictory mess—leaves me wondering why she’s trying to drag people and villainize them for contracts she knowingly signed, negotiated by her own team.



Again, sure, if there’s a payout to be made here because the contracts did not abide by Equity rules…okay. Then have Equity deal with it.


The social media call outs reek of desperate attempts for attention and seem like a great way for her to ensure people never want to hire her again. She’s basically telling people that even if she’s party to a mistake, instead of going through proper channels, she will try and tarnish people’s reputation for some likes and reshares

BroadwayGirl107 said: "Kad said: "First refusals are typically part of the Equity contract- somebody's agent can't negotiate that away (and if they even wanted to, you should fire them)."

“The Off Broadway contract has no first right of refusal built in”

“I had the worst agents at the time who let an in perpetuity clause get through”



Two comments directly from Kathy Deitch on her post from April 14th."

To clarify: the in perpetuity comment is about the B-Roll payment. The usage for that is in perpetuity.

Improv is the key difference, and the thing that might actually get traction if the original actors want to sue. That’s what makes it different from Wicked or N2N. It’s also why the original Workshop contract was developed after A CHORUS LINE opened.

We the public will never know what these people actually contributed. If it’s three jokes, does that mean they deserve a royalty and a writing credit? What if they improvised a line and then the authors morphed it into something else and put it into the script? I don’t know how you’d decide or pro-rate any of this - but I’m not a lawyer or a writer.

Huh? What producer of Titanique is a billionaire? As far as I know Price is the lead producer of the show and I dont see why anyone would think she’s a billionaire, lol.



Are people referring to coproducers? Do they realize that coproducers are either just investors or vanity credits for fund raising? Not the people handling contracts or doing the hiring…

This was the last of the 17 shows that I watched in 9 days and what a blast to end this marathon.

I saw ''Titanique'' in Brazil last year, but this almost slapstick humor really fits the english language even better, I really liked all the away through (also, why they say its 90 minutes??), and I'm IN LOVE with Marla Mindelle and Layton Williams, the Tony nominators couldn't be more right about these noms.

Marla has a strong stage presence and a pitch perfect timing when comes to comedy, but then again I would say most of the cast is very good with these characters minus maybe Deborah Cox and certainly Frankie Grande but certainly not a problem as a whole.

Jim Parsons has that scene that is amazing, John Riddle's voice is perfect and the way they act is like a very family feeling that keeps everything tied together.

Yes, it's not exactly a musical sometimes and the direction/choreography is mundane in some moments, but it just works and by the time it ended I wanted to go out and party because that feeling really stood out to me the most.

I will say Layton as the iceberg and commanding the lipsync has to be one of the best parts this Broadway season, absolutely LOVED IT - and would give him the Tony.

Oddly, they seem to have pulled their discount code, which was a pretty decent discount, and it’s not like they are suddenly selling out. Just looking at tonight and there are tons of tickets available. And they are at TKTS for every single performance. Seems like a pretty stupid move to me.

Just finished reading it. This seems like a mess.