Titaníque
Opening Night: April 12, 2026
Closing: July 12, 2026
Theater: St James Theatre
Website: titaniquebroadway.com
From a basement Off-Broadway to an international phenomenon, TITANÍQUE sails onto Broadway for its grandest voyage yet. Winner of the Olivier Award for Best New Comedy, this global splash hit reimagines Jack and Rose’s timeless love story aboard the ship of dreams through the French-Canadian eyes of someone who was totally there: Céline Dion! The superstar singer remembers the doomed romance with more shocking twists, mega-diva antics, and face-melting vocals belting her favorite hit songs – and not even an iceberg can stop her. Crazy times call for a kooky krazy musical extravaganza. With a story you’ll never let go, music you know by heart, and the diva you need, you’d have to live at the bottom of the ocean to miss this strictly limited engagement.
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April 12, 2026
There’s a lot to digest, and the pace doesn’t help: It is so relentless that it’s as if we’re watching a playback at twice the normal speed. Sometimes “Titaníque” lands and sometimes it merely treads water. Sometimes it achieves an exhilarating lunacy and sometimes it is just exhausting.
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April 12, 2026
Now, amped up about as high as it can go with an all-star cast, Titaníque is guaranteed to deliver the most fun night you will have at the theatre this year.
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April 12, 2026
In a world chugging toward dark waters, Titaníque is a guaranteed good night out—one that ends with the whole audience singing.
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April 12, 2026
Campier than the campy Cats: The Jellicle Ball but no less generous in its embrace of queer heritage’s seismic impact on American culture, Titaníque on Broadway is bigger than a mere hoot. It’s a riotous, high-cresting celebration just when we need it most.
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April 12, 2026
The jokes — good, bad and cheap — come non-stop in then show’s 90 minutes, and are filled and sometimes pummeled with pop culture and brand-name references, puns, anachronistic humor, and naughty bits. (One can only laugh at so many “seaman” gags.) Every entendre is doubled down and the show has the most corn on Broadway since “Shucked.”
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April 12, 2026
Titaníque is the kind of giddy, dippy, fan-friendly spectacle that invites you to arrive a glass-and-a-half deep, literally or spiritually.
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April 12, 2026
I can’t say the humongous St. James Theatre, which suits hardly any show, is my favorite port of call. Nobody can argue that its distancing size is an asset to a musical that thrives on a dirty-little-secret energy. And actors dashing 10 feet to the wings doesn’t suit a staging packed with rapid-fire gags. Its new set of metal platforms and beams is more concert tour than comedy hour. Yet the unhinged underdog retains its essential charms.
READ THE REVIEWApril 12, 2026
As intellectual property goes, never count out our endless fascination with the Titanic, which was the origin story of this show, set in a Titanic museum, presumably the real one in Pigeon Forge, Tennessee, where I once dipped my fingers in a tank demonstrating the frigidity of the water that night in the North Atlantic. Nothing chilly for the digits here. Not with Mindelle fending off the ghosts with “I’m Alive!,” clearly a plea for Dion’s immortality.
READ THE REVIEWApril 12, 2026
A shining comedy showcase, a bonafide arena concert, and a well-built musical that doesn’t require much Titanic knowledge to enjoy.
READ THE REVIEWApril 12, 2026
Titanique maintains the scrappy seat-of-your-pants energy that helped it set sail in the first place. It has the heart of an ambitious school production, staying true to its origins: a show put together with spit, glue, and love, for the sole purpose of making people laugh.
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April 12, 2026
“Titanique” begins with a splashy premise but ultimately struggles to stay afloat. Occasionally, a joke lands. But more often, “Titanique” simply isn’t funny, inventive, or especially interesting. At 100 minutes, the show plays less like a fully developed musical than an extended sketch, with scenes frequently interrupted by asides and non sequiturs.
READ THE REVIEWApril 12, 2026
Thankfully, director Tye Blue and his co-creators Marla Mindelle and Constantine Rousouli have expertly translated their bonkers vision of a Céline Dion jukebox musical/Titanic parody/drag show into a crowd-pleasing spectacle, so full of joy and laughs that you’ll leave with your face aching from smiling.
READ THE REVIEWApril 12, 2026
Titanique doesn’t just survive the jump to Broadway. It thrives on it. It’s a reminder of how exciting musical comedy can be when it’s fearless, specific and just a little bit off-the-rails. And more importantly, it’s a reminder of how good it feels to laugh this hard in a theater.
READ THE REVIEWApril 12, 2026
This madcap tribute, directed here by Blue, has those wink-wink notes and meta Broadway in-jokes in spades, but the heightened environment also exposes the show’s limitations in scale (and, at times, but certainly not always, vocal wattage; it’s tough when the comparison is with one of the all-time greats). Raucous, raunchy and very tenuously plotted (not a complaint!), the show befits a looser, boozier, more intimate environment, one where Mindelle could really get up in there, as she tries to do in-full-diva parody mode.
READ THE REVIEWApril 12, 2026
Instead, I disappointedly report that Titanique—narrated by uncanny Dion lookalike Mindelle as an arch diva—is my idea of lowbrow entertainment at its just about lowest. What else might you say of a comic endeavor that receives its biggest laugh (or very close to the biggest) with the line—wait for it—“Go f*** yourself”? Unasterisked, of course.
READ THE REVIEWApril 12, 2026
Friends, has this ever happened to you? There you sit at a Broadway musical where it seems nearly everybody in the theater is screaming with laughter and cheering the performers, and you don’t get what the hubbub’s all about. That was me the other evening at Titanique.
READ THE REVIEWApril 12, 2026
How much of this levity lands and how much of it is… all wet… depends on one’s sense of humor, and also one’s mood. For me, what landed wound up in about the same proportion as the Titanic survival rate. (If that analogy offends you, you’re probably not in the target audience for “Titanique.”) The musical numbers did a bit better; among the most memorable, Layton Williams as The Iceberg leading the cast in “River Deep, Mountain High” and Deborah Cox as Molly Brown belting out “All By Myself.”
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