Titanic The Musical – The Grange Theatre, Hartford

Few historical events have embedded themselves in popular culture quite like the sinking of RMS Titanic. More than a maritime disaster, it has become a byword for hubris: a warning about ambition, overconfidence and the belief that some things are simply too big to fail. Titanic: The Musical itself, like its maritime namesake, is a huge undertaking. The cast is enormous, the score vocally demanding, the staging ambitious and the emotional stakes high. Much like the ship, it requires a clear course and a steady hand at the wheel to ensure plain sailing and so as not to meet an icy reception.

Premiering on Broadway in 1997, Titanic won five Tony Awards, including Best Musical. With music and lyrics by Maury Yeston and a book by Peter Stone, it takes a documentary-style approach to the famous tragedy, focusing not on fictional romance (no Jack and Rose here) but on the real passengers and crew who boarded the ship on her ill-fated maiden voyage. The result is a sweeping, ensemble-driven piece that explores class, ambition, duty, sacrifice and the unpredictability of fate.

A key strength of the show is its humanity and the way the narrative unfurls through a collection of interwoven personal stories, and this production does a good job of sympathetically drawing out those relationships. The story of Isidor and Ida Straus (Mike Howard and Suzie Lowe) is genuinely touching, while the interaction between Radio Operator, Bride (Ben Davies) and Stoker, Barrett (Jake Hankey) gives us a privileged insight into their back stories and their characters.

One of the production’s most impressive achievements is undoubtedly its staging. Built entirely in-house to fit the performance space, the set demonstrates remarkable craftsmanship and attention to detail. The design makes excellent use of the available space through a series of levels, platforms and a promenade walkway extending into the auditorium via a gently sloping ramp. Together these elements help sustain the audience’s suspension of disbelief and effectively suggest the enormous scale of the vessel.

Directing a cast of forty-five in a space of this size is no easy task, but Helen Mayne and Joanna Milborne-Chatt skilfully manoeuvre the company around the various levels and playing areas. The stage occasionally feels a little cramped when the full cast is on show and The Latest Rag was maybe a little cosier than intended. However, for the most part crowding is avoided and where characters do gather tightly together, it enhances the mood, such as during the emotional lifeboat scene.

Particularly inspired is the decision to position the sixteen-piece orchestra on the ship’s bridge. It feels completely at home within the design and allows the musicians to become part of the world of the show rather than sitting apart from it.

The attention to detail throughout is commendable. The radio equipment is an impressive piece of craftsmanship in its own right, while the rows of rivets and carefully constructed portholes give the set an authentic industrial feel that constantly reinforces the illusion.

The lighting design contributes significantly to the storytelling. Changes in colour and intensity effectively establish both mood and location. Particularly effective was the red uplighting beneath the walkway evoking the oppressive heat of the engine room and a series of specials that helped to steadily build the tension towards the end of Act One as the ship approaches its fateful collision.

Musically, the sixteen-piece orchestra, under the skilfully wielded baton of Michael J Scott, sounds fantastic. Yeston’s cinematic score demands both power and sweep, and the musicians provide exactly that, giving the production much of its emotional weight and grandeur.

Unfortunately, however sound proved to be the production’s biggest challenge on opening night. Some missed cues are to be expected early in a run, but balancing between the orchestra and cast was inconsistent, making dialogue and lyrics difficult to hear. The problem was most noticeable during some of the larger ensemble numbers and it led to occasional synchronisation issues between pit and stage which dampened the emotional impact of the scenes. Hopefully these issues can be attributed to teething troubles and the balance and cueing will improve as the run continues.

With more than forty named characters, many of them doubled, it is impossible to mention everyone individually, but, for me, there are several standout performances worthy of special mention.

The three Kates (Beatrice Dorsch, Paige Grindrod and Hazel Jaffray) are delightful in I Want to Be a Lady’s Maid, with Dorsch particularly impressive as Kate McGowan. Her relationship with Jim Farrell, played by Billy Clarke, is developed with real sensitivity and becomes one of the show’s most affecting storylines.

Jake Hankey gives a powerful performance as Barrett, with his engine room song proving a particular highlight. Ben Davies is excellent as Harold Bride, bringing warmth, humour and effortless vocals to the role of the young radio operator.

Rob Earl as Captain Smith, Stuart Dutton as Ismay and Stuart Raphel as Thomas Andrews are especially strong during The Blame, delivering one of the evening’s most compelling dramatic sequences.

Ultimately, this is a production that deserves enormous credit for its ambition. Titanic is a demanding show by any standard, yet there is a clear sense of a company fully committed to every aspect of bringing it to life. From the in-house set, props and costume fabrication to the immersive field trip to Belfast that the cast took in preparation for the show, there is an unmistakable community spirit underpinning the entire production.

While some opening-night technical issues occasionally prevented the show from reaching its full emotional potential, there is a great deal to admire. Ambitious, visually impressive and often moving, this production demonstrates exactly what community theatre can achieve when people are prepared to dream big and put in the work to match.

Titanic runs until Saturday 7^th November at The Grange Theatre, Hartford (7.30pm nightly with matinee performance at 2.00pm on Saturday). Tickets are available via The Grange Theatre event tickets from TicketSource.

Reviewer: Dan Grimes
Reviewed: 4^th November 2026
North West End UK Rating: