Those who go into Lyric Stage’s Titanic expecting the grand opulence and special effects wizardry of James Cameron’s blockbuster film will be sorely disappointed. Indeed, aside from boldface society names like Astor and Guggenheim on the passenger list, the 1997 musical has little in common with the movie. Those who come in expecting a lush rendition of the hauntingly beautiful Maury Yeston score, however, will be elated.
Lyric first staged the musical in 2003 under the direction of Drew Scott Harris, whose staging and choreography have been recreated this go-around by Margaret Hayden and Emily Ford, respectively. Phil Hickox’s skeletal set gives the merest hint of the massive ship, with the metal scaffolding suggesting a large, airy vessel. With this as its background, and enhanced by Julie A. Simmons’s evocative lighting, the 38-person cast can appear either comfortably ensconced or as a chaotic, teeming mass once the ship scrapes the iceberg.
Stripping away the spectacle allows the show’s sound and human drama to take center stage. A bevy of fine singers comprises the cast, lending their powerful voices to stirring anthems, tender ballads, ragtime-inspired ditties, and comic numbers. Supported by the always-excellent Jay Dias and his impressive 35-piece orchestra, Yeston’s score soars in this almost concert-like format. From the aristocratic first-class passengers parading their status to the hopeful third-class immigrants dreaming of a better life in America, the emotional spectrum is wide.
Particularly memorable performances come from Mary Gilbreath Grim as the comically eager Alice Bean, who keeps sneaking into out-of-bounds saloons and parlors to rub shoulders with the rich, and Kylie Arnold as the feisty Kate, an Irish lass who picks up a fiancé on the journey. Randy Pearlman sniffs and smirks his way through a pitch-perfect performance as the elegant butler, Henry Samuel Etches.
If it feels like we spend more time with the ship’s crew, it could be because each of them imbues their characters with a memorable strength. Their presence is also heightened when each clamors to accept blame for the accident, from the regretful captain (James Williams) to Lieutenant Murdoch (Scott Sutton), who’s gutted that he failed to heed the warnings. Anthony Fortino brings a booming voice but little emotion to the role of the stoker Barrett, a man who just wants to escape the sweaty bowels of the ship and return home to his sweetheart.
The song “The Night Was Alive,” sung by wireless operator Harold Bride (Aaron C. White) about the thousands “voices” competing for attention over the airwaves, takes on a chilling undertone later when Bride hears nothing but radio silence while sending out distress signals. Just another example of the power of this production’s music.
