NSMT’s ‘Titanic’: A moving. powerful musical voyage

By Rich Fahey

BEVERLY – In more than three decades of reviewing productions at the North Shore Music Theatre, there have been many occasions when, after seeing a show presented in the traditional proscenium theater, I was skeptical of how effectively the same show could be presented in NSMT’s in-the-round configuration.

I soon morphed from skeptic into true believer. The theater’s designers, accustomed to using every nook and cranny in space, became true problem solvers, using ingenuity and creativity to scale every hurdle.

The latest point: A stirring, gorgeous production of “Titanic: The Musical,” now being presented through Nov. 10.

This  “Titanic” – the winner of Five Tony Awards including Best Musical, Best Score and Best Book – is focused not only on the iconic vessel. It brings us deeply into the lives of its actual passengers and crew, and the hopes and dreams that died when 1,517 of them perished on the ship’s maiden voyage on the morning of April 15, 1912.

The designers have wisely chosen to accent some elements of the ship while downplaying others, but it never detracts from the power and majesty of the production. The design team – aided by the state-of-the-art projection system that made its debut this season —    has woven some serious theatrical magic, on a par with the dazzling “Frozen” of last summer. The screens used for projections are suspended above the stage and disguised as lifeboats when not being used.

Kevin P. Hill’s superb choreography and direction leads a 29-person cast, many of whom perform multiple roles.  “Titanic” is a true ensemble piece; each character will have a turn at bat.

One of the standouts is Trevor James, whose powerful vocal instrument is part of several numbers in Act I as  Frederick Barrett, the stoker whose goal is to become an engineer in America. In the number “There She Is,” he sings to his true love: “I’ll be back before the fortnight is done.” The Titanic was scheduled to voyage to New York City and back to England in less than two weeks.

Stone’s book gives the third-class passengers the same billing as the crew and those in first class, where iconic names such as John Jacob Astor (Billy Goldstein), Madeline Astor (Emily Song Tyler)  and Benjamin Guggenheim (Marcus Huber) reside.

Third-class goes first-class in the “Lady’s Maid” number, with the delightful “Three Kates” – Kate McGowan (Leslie Jackson), Kate Murphy (Marie Eife), and  Kate Mullins (Annette Barrios-Torres) – glowingly and joyously  describing their dreams for their new lives in America.

In second class, social-climbing Alice Beane (Carlyn Connolly) spends much of her time admiring the millionaires in first class and bemoaning the fact husband Edgar (Kevin Patrick Martin) owns but one small hardware store.

The musical owes much to the charm and wit of the story and book by Peter Stone (“1776”) and the sweeping, majestic score by Maury Yeston (“Nine”) that conveys both the joyous optimism and awe of the vessel’s launching and then more ominous tones as the disaster looms ever closer. The full company’s two renditions of “Godspeed, Titanic,” in the sure hands of music director Milton Granger, may give you chills.

There is a sublime moment when lookout Frederick Fleet (Andrew Kotzen) sings mournfully about the fact there is “No Moon” that fateful night that morphs into the first-class passengers dancing to “Autumn,” the final moments before disaster strikes.

One of the most powerful and poignant scenes features two skilled pros: Medford native Kevin B. McGlynn and local favorite Mary Callanan. As businessman/politician Isidor Straus and his wife Ida, they perform the lovely number “Still” while making a fateful decision that will bind them together for all time.

Other strong support comes Harrison Drake as Henry Etches, the ultra-efficient first-class steward; Mark Mitrano as Harold Bride, the radio operator who finds his calling in life and whose SOS helped save more than 700 souls; and Meag O’Meara as a tragic 14-year-old bellboy.

The fateful decisions that led up to the Titanic’s demise come one by one: The decision to steadily increase the speed of the new vessel; Another to take the northern route to save time; and the way warnings about ice in the area were largely disregarded.  They all culminate in a number called “The Blame,” as Captain E.J. Smith (Tom Galantich), White Star Cruise Line director J, Bruce Ismay (Bronson Norris Murphy) and ship designer Thomas Andrews (Trevor Martin) trade charges after the full meaning of the moment sinks in.

The aforementioned projections come to the fore in several key moments, especially when the tortured designer Andrews surveys his plans for the ship, discovering the fateful error that caused the disaster.

This musical is much different than James Cameron’s iconic film version starring Leonardo DeCaprio, although both opened in 1997 and both found great success.

The Titanic’s short journey covers the full spectrum of emotions as the awe and joy of the launching of “the largest moving object in the world” steadily gives way – due to arrogance and a litany of mistakes – to the most famous maritime disaster in history.

Although we know what lies ahead, this production makes you very happy you got aboard.

The North Shore Music Theatre production of “Titanic: The Musical.” Story and book by Peter Stone. Music and lyrics by Maury Yeston. Directed and choreographed by Kevin P. Hill. Music direction by Milton Granger. Scenic and lighting design by Jack Mehler Original costume design by Jeffrey Meek. Sound design by Alex Berg.  Hair and wig design by Rachel Padula-Shufelt. Projection design by Pamela Hersch. Costume coordinator/additional costume design by Rebecca Glick. At the North Shore Music theatre through Nov. 10. Nsmt.org.