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| Titanic |
With exception to many naval ships, there hasn't been any ship with quite the legacy of the RMS Titanic. It was supposed to be the unsinkable ship, one of mankind's greatest creations that defied the laws of nature. Alas, the demise has preceded its reputation and left many to think of it more as a tragedy that killed thousands than a place full of promise. It's what makes the Tony Award-winning musical Titanic all the more attractive. It's a show that revels in the breathtaking beauty of the ship but also places the passengers into a context that history books often don't. It's a place where the upper and lower class exist on top of each other, each with dreams of a life in America. While the second act is a harrowing recreation of the ship sinking (with songs), the first is an empathetic reminder of what America and manmade ingenuity mean. Thankfully the expansive cast at The Attic in Santa Ana, CA brings it to life with rich performances, wardrobe, and awe that makes up for any limited stage space. The audience will enter with a curiosity about the ship, but leave with a sense of understanding of why anyone would board it in the first place.
When entering The Attic's main theater, there is a basket of signs. They're designed to look like boarding passes for the RMS Titanic. While the front is designed nicely, it's the back that gives the novelty a deeper purpose. The individual passes come with unique stories of actual passengers who boarded the ship. Throughout the document is the familiar exchange of information: name, age, current location, as well as why they were traveling to America. Ending the pass is mention as to whether they lived or died. While this could be seen as merely a way to pass time before the show starts, it actually helps to put the audience into the headspace of the show, featuring 40 actors all portraying various characters of different social classes. The first class is extravagant, dressed in elegant outfits rich with color. The lower classes are increasingly less so, with the lowest being coal diggers whose faces are smattered with dirt.
They all share a dream that comes through in the opening's 10-song stretch as each group is called aboard. Everyone has their moment to sing with enthusiasm why they have chosen to board the boat as Captain Smith (William Crisp) watches from a second-floor setting meant to be the steering room. The music does an admirable job of making half of the characters stand out in a way that suggests significance later in the plot. The rest blend in before reaching the bon voyage song "Godspeed Titanic" where the entire cast comes out and sings joyfully about the potential that lies ahead. Despite the stage being filled shoulder-to-shoulder, the choreography is flawless and the harmonies are clear. The spectacle reaches beyond its limitations and captures the essence of theater. Every actor wants to be there and, at any one time, there's something exciting to witness on any angle of the stage.
Are you confused? You won't be after the show gets started. While the passes aren't designed to draw the audience to one perspective, it causes them to subliminally wonder who will survive the journey. There's an empathy built-in that works as the narrative finds its footing between the social classes. The upper class eat in the grand hall, gamble, and talk about opening department stores in the new world. The lower class merely dreams of being employed in a position of repute. Within this singular shift is a bevy of ideas all desiring to make it to America, where the future lies. Anyone who knows the real story will find the sad irony in the early celebration, but even that doesn't excuse what the show does very well. It brings these characters to life and adds depth to figures who likely were never discussed in history books. While the show rarely feels like it has a traditional protagonist, it does capture the classes in a meaningful way.
If there's any antagonist, it's J. Bruce Ismay (Eric Hindley), the ship's designer whose hubris telegraphs the fate. Whereas Captain Smith is the coolheaded leader, Ismay wants the Titanic to be efficient, capable of doing a full-round trip within a short time. This leads to pushing the ship to an unfathomable 21-knots speed, which causes other parts of the ship to malfunction. What's brilliant about the show is how it manages to comment on both classes and allow the audience to presume what the other is up to when they're off-screen. Ismay's foolishness allows a sense of grandeur and tragedy that everyone else isn't aware of. The audience is aware of more than any one character, adding dread when things turn for the worst.
In a way, Ismay's foolishness is the dream-killer, reflecting how the hubris of the powerful can destroy an entire ecosystem, in this case, the future of everyone on the ship. The story takes a sad turn because of how many dreams remained unfulfilled. The second act effectively plays off emotion in a way that is more direct. Even without seeing the water, the despair shines through in every performance as they run across the stage, moments from potential death. Whereas the first act is more developing and resonates in intimate moments, the second act pays off these moments by reflecting how every relationship formed is on the verge of being lost. It does so without falling into melodrama, even as the final passengers aboard stare into the water. They're all strangers, but there's something touching about watching them contemplating gambling and drinking, realizing that this is their end.
A lot of credit should be given to music director Stephen Hulsey, who serves duty as a one-man-band by playing his piano accompanying every song. As great as the actors are at harmonizing, making every note as clear as necessary, the tireless work that Hulsey puts into being the backbone of the show at times outshines everything. It shows the value of community theater, where every role is never too small. It's something that feels especially true here, as every actor gets at least one minute to take the lead and have their part mean something to the greater narrative. It's a daunting task to put this show on, especially given the limited stage space, but it's all the more incredible to witness because of that.
Titanic is a musical about social class and hubris that feels timeless thanks to music and lyrics by Maury Yeston. Whereas many have studied the ship, the musical feels like a chance to go beyond it and understand what it symbolized and why its demise was so tragic. It's a story about everyone from the upper class to the lower class to the servants who helped keep order in times of chaos. In a crucial time, everyone's life mattered, and the show found a way to make them all shine through, leaving a deeper sympathy for what was lost. To look back down at the boarding pass following the show is to understand something more true about why this show works so well. It may seem daunting to see 40 acts saunter on and off stage, but there's so much more to the story. It makes one wonder what other stories couldn't be packed into the story, or what great lives could've been lived had Insley set aside his ego and take the extra day of travel. The show is so much more than what's on stage, even though what's there is powerful enough to move the audience, giving them a perspective not often seen. It's a reminder of life's value, even for those unable to make their own story hear. Titanic is a show that does the next best thing, and that's all that matters.
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