Titanique The Musical, Criterion Theatre - Big, Brash, and Unashamedly Over The Top

Rob Houchen, Lauren Drew, and Kat Ronney in Titanique. Image by Mark Senior.

⭑⭑⭑⭑⭑ - 90% • 3 minutes 46 seconds read time

If you’ve ever wished the tragedy of Titanic could come with a generous helping of high camp, irreverent humour, and a Céline Dion soundtrack, Titanique the Musical is your dream come true. Currently playing at the Criterion Theatre, this off-the-wall parody takes the iconic tale of doomed love and transforms it into a raucous, glitter-strewn celebration of laughter and joy. With its razor-sharp dialogue, dazzling performances, and a knowing embrace of its niche audience, Titanique is unapologetically ridiculous – and all the better for it.

Right from the opening moments, Titanique makes its intentions clear. This is not a show burdened by fidelity to the plot of James Cameron’s 1997 blockbuster. Instead, the narrative serves as a loose frame for an evening of absurdity and delight. Céline Dion herself – portrayed with scene-stealing energy and knowing humour by Lauren Drew – takes centre stage, recounting her “real” version of the Titanic story. From there, we’re whisked into a world where nothing is sacred, and everything is a potential punchline.

The book is deliberately light on plot, and that’s entirely the point. This isn’t a show designed to tug on your heartstrings or deliver profound truths; it’s here to make you laugh until you cry. The humour is gloriously self-aware, with jokes that are quick, clever, and constantly updated to reflect the pop culture landscape. From nods to the queer community and its icons, to tongue-in-cheek jabs at celebrity culture, the script feels alive, evolving to stay in step with its audience.

What truly elevates Titanique is its understanding of its crowd. It knows exactly who it’s playing to and leans into that with gusto. The show is packed with references to queer culture, delivered with affection and wit rather than pandering. One of the most refreshing elements is its use of drag. There’s a standout performance by Stephen Guarino as Ruth that avoids the tired trope of making the joke about gender – a pitfall too many productions still stumble into when utilising a drag character. Instead, the character is treated with the same comedic respect as everyone else onstage, which is both affirming and a mark of the show’s sophistication amidst the silliness.

The performances are uniformly excellent, but I have to mention Layton Williams as the iceberg. Yes, you read that correctly – the iceberg. Their entrance is a moment of pure theatrical joy, complete with scene-chewing charisma and vocals that light up the room. The absurdity of the role is matched by Williams’ commitment to it, resulting in a show-stopping performance that is as baffling as it is brilliant.

Vocally, the cast is exceptional across the board. The songs – Céline Dion hits recontextualised in the most ludicrous ways – are delivered with power and precision, which is no mean feat whatsoever. While the comedic elements dominate, the musicality of the show never falters. The balance between parody and genuine vocal talent is perfectly struck, adding a layer of polish to the chaos.

Improv moments pepper the production, and they’re some of the funniest parts of the night. The cast’s quick wit and impeccable comedic timing ensure these unscripted interludes feel organic rather than shoehorned in. Audience engagement is also woven cleverly into the fabric of the show. Rather than allowing disruption to derail the narrative, the production has built in moments for participation, satisfying the crowd’s urge to join in without letting things spiral out of control. It’s a smart move that reflects a deep understanding of the communal energy at the heart of live theatre.

The Criterion Theatre’s intimate space is used brilliantly. From inventive staging to cheeky use of the aisles, the production never feels constrained by its physical environment. Instead, it turns the space into part of the comedy, with surprises lurking around every corner. The design elements – from the costumes to the minimal but effective set – lean into the camp aesthetic without ever feeling cheap or lazy.

Of course, a show like Titanique isn’t going to be for everyone. If you’re looking for a deep narrative or subtle character development, this isn’t the place to find it. The book is essentially a loose excuse to hang gags and songs on, and while that’s entirely the point, it may leave some wanting more substance. But for those willing to embrace the chaos, Titanique offers an evening of pure, unfiltered fun.

At its heart, Titanique is a celebration of joy. It doesn’t take itself seriously for even a second, and its sole aim is to make its audience laugh – a goal it achieves with aplomb. It’s big, brash, and unashamedly over-the-top, and in a world that often feels heavy, its silliness is a welcome balm. For fans of camp, comedy, and Céline Dion (and really, who isn’t?), Titanique is a must-see.

Five stars – because sometimes, entertainment doesn’t need to be anything more than an absolute blast.

Titanique is currently playing at the Criterion Theatre until March 30th. Tickets here.