TITANÍQUE Reviews — Page 5

Tangentially related, but Flanigan was also the co-GM with MEP for Redwood; until they were both quietly replaced by Alchemy Productions a month prior to the shows sudden closure. MEP/Eva Price was also the lead producer on the show, interestingly.

Re: Eva Price, someone should take a look into the operating expenses for &Juliet. The fact it’s still running with such low grosses…

Updated On: 5/15/26 at 05:16 PM

quizking101 said: "I’m also incredibly perplexed as to how this show costs nearly $1M a week to run. Across the street, JELLICLE BALL, has quadruple the cast and still comes in around $850K a week. I’m sure Parsons and Cox are getting hefty salaries, but could it be that the royalty prices went up?"

Do we know that CATS is indeed breaking even at a gross of $850K a week, or are the hard costs $850K plus royalties and credit card fees?

While CATS does have 28 cast/12 orchestra and TITANIQUE has 14 cast/19 orchestra, I would not be shocked if everyone in CATS is Most Favored Nations and making about $5,000 a week. In the eyes of agents, TITANIQUE has three "famous" people (Barrera, Cox, Parsons). If you told me they were each getting $20-50K a week, I would not be shocked. That show was desperate for names. And when supporting players earn that kind of money, it can make other salaries go up too. (This is guesswork, not insider scoop.)

HenryTDobson said: "Asking genuinely- is the Broadway Journal a reputable source? I've never heard of it. If it is legit, they really need to work on their site. Myspace looked more professional than this."

Yes. Philip Boroff knows his stuff and is up there with Michael Paulson for me, in terms of beat reporting.

Broadway Journal is basically a Substack now.

Boroff is a great reporter and one of the few people I trust.

Yes, this has been a hushed secret for a bit now. Hence the surprise it was coming to Broadway in the first place...

EveryLittleStep said: "Do we think Eva knew? The comments on Reddit make it seem like she’s not a great person."

She gives me major Lydia Tar vibes, lol

If I had been an investor on this or any Eva Price show, I would have a lot of questions about what she knew and when she knew it. Aspects of this matter have been public knowledge for a year, but not this level of detail (not to me at least). I am told that Price and Flanigan were intensely close.

The timing of investor distributions can be a very strategic thing when a producer is trying to raise money for other projects, and when some of those projects are new productions of the same show.

If a show keeps running, the GM firm and the producer’s office still get paid.

It is telling that of the 10 Off-Bway co-producers billed at the bottom of the Bway title page, only 3 of them are co-producers on the Bway production…and one of them is the Grande family and the other is Jimmy Nederlander.

Updated On: 5/17/26 at 06:33 PM

EDSOSLO858 said: "Tess Marshall is making her Céline Dion debut on Broadway today."

Yes, because Marla is hosting the Drama Desks tonight.

As expected, a national tour launching in 2027 has just been announced at day one of the Spring Road Conference.

(It will do really, really good business IMO.)

Updated On: 5/19/26 at 11:18 AM

I saw the show last week and by all accounts I thought I had gotten a pretty good seat. It was in the mezzanine, row F house left. But I discovered, after the play began, that my sight lines were hampered by all of the staging that was done on the lip of the stage. I could barely see the actors. I finally had to put my seat up and sit on the apron. And then to top it off the balance between the Orchestra (too loud) and the singers was off, so I couldn’t hear a lot of the lyrics which is rather crucial when doing a parody. I was surprised that I had experienced these disappointments, considering it was a show on Broadway. I can only blame the director and the sound designer for these drawbacks which could’ve all been avoided with some simple adjustments.I also had an issue with some of the actors talking so fast that they were killing their jokes. So all in all I think I would’ve enjoyed it more in a smaller space. The production did not have the gravitas for Broadway. All that being said, credit goes to the creators for Titanique for they knew what it was and they didn’t try to make it into anything else. Constantine Rousoulini was very charming and handled the comedy quite well both through physicality and in his commitment to the character. I also liked Jim Parsons. He came across as having more stage experience than some of the supporting players and he took the stage like he was Vera Charles in Mame. The writers took for granted that we all had seen the movie, but I probably would’ve added a few more plot points just to give the story a tad more structure. Unfortunately I had a hard time understanding Layton Williams. Part of it, could’ve been solved by simply slowing down a bit, but maintaining the same energy and intentions. I think sometimes actors decide they are doing a farce so they talk fast but forget that they are actually having a conversation with other characters, forgoing listening and reacting. Frankie Grande was guilty of the same thing and it made him seem inexperienced.

Aside from maybe releasing Layton's "River Deep, Mountain High" as a single, a majority of the songs are sung by Marla as Celine, and I don't think it would amount to more than karaoke as a cast album, they're not entirely different arrangements.

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