Tag Archives: Carl Mullaney

“Titanique” at the Criterion Theatre

Tye Blue, Marla Mindelle and Constantine Rousouli’s hit show has a new cast. With Olivier Awards on board and booking until January, any scepticism about a show that sends up Celine Dion and the movie Titanic should be swiftly sunk. And, anyway, if you scoff at silliness, this one isn’t really for you – Titanique is one of the most absurd things you can see, and very funny indeed.

Presenting two stories of what happened on board the doomed ocean liner, including reenacting the romance between Jack and Rose from the film, all with songs by Dion is, frankly, a lot. There’s so much scope for jokes that it all feels, er, a little choppy. Blue’s direction enhances the energy and more gags are added that are sometimes tasteless and often rude, encompassing news events, pop culture and, for this UK version of the Broadway show, quite a lot of EastEnders. While some jokes are so old they hum, the sense of surprise is great, with moments where you check yourself at how mad it all is. 

This much foolishness is actually hard work. The musical adaptation of Dion’s hits, by Nicholas James Connell, is smart. And the strong cast makes light work of a demanding routine. While Luke Bayer and Hiba Elchikhe, as Jack and Rose, feature heavily, all get plenty of moments to (over)act including Tosh Wanogho-Maud as a seaman (yes) and Tina Turner-as-an-iceberg (there’s hyphenation I never thought I’d need). Surely, it’s hard to sound this good with your tongue so firmly in your cheek? Let alone all the eyerolls and Ellenore Scott’s choreography. 

The show is buoyed by the performance of Astrid Harris as Dion herself. An exaggeration as much as an impression, she gets laughs at every moment. And the show is neatly coy about Dion’s appeal – she’s made fun of, sometimes a little cruelly. But the acerbic propels the show. And such humour is leaned into by Carl Mullaney, who plays Rose’s mother with a fantastic rant and highly effective slips into a British accent. A lot of Titanique is reminiscent of a (very good) drag act – there are enough references to RuPaul, after all – giving it a neat niche that should keep it afloat for a long time.

Until January 2026

www.london.titaniquemusical.com

Photo by Mark Senior

“La Cage Aux Folles” at Regent’s Park Open Air Theatre

After so many fantastic musicals during his time as director at the venue, Tim Sheader’s final revival at Regent’s Park Open Air Theatre deserves acclaim. The much-loved 1983 piece is produced with, well, lots of love. Clearly close to many hearts, the staging is carefully crafted, Sheader’s work impeccable and the audience reaction euphoric.

La Cage Aux Folles is undoubtedly effective – but it is simple. The book by Harvey Fierstein is a model of clarity. Yet the story of drag queen Albin and his partner Georges’ child getting married doesn’t take much time. And although each of Jerry Herman’s songs are hits (not just I Am What I Am), there really aren’t that many tunes.

So, the strength of the production comes with the performances at the eponymous cabaret. Stephen Mear’s choreography is fantastic, the performers acrobatic, and Ryan Dawson Laight’s costumes accomplished (with some lovely nods to the 1970s setting). It wouldn’t be surprising if members of this chorus – or ‘Cagelles’ – each had a show.

Carl-Mullaney-and-Billy-Carter-in-La-Cage-aux-Folles-credit-Johan-Persson
Carl Mullaney and Billy Carter

This is not to detract from the leads, from whom Sheader has secured strong comic performances. Billy Carter plays Georges and has the night club host patter down well. Carl Mullaney’s experience as a cabaret host also shows with his confident Albin. Whenever either has a microphone in hand (nice touch) there is fun. Mention should also be made of Ben Culleton, as their son Jean-Michel, who impresses with a fine voice and great dancing (with Sophie Pourret).

Behind-the-scenes action sometimes feels a little lost in the space. Seeing the Cagelles from the other side of the curtain is a nice idea (and it gives Hemi Yeroham a chance to shine as a stage manager), but you can’t help wondering if it’s all to help with costume changes. That said, the changes of outfits are worth it, and the stage needs to be big to accommodate dance scenes that release a real sense of euphoria.

Private moments suffer from a similar problem – it sometimes feels that the show might be better in a more intimate location. Georges and Albin’s romance convinces but seems small next to the big numbers. Maybe the change of scale is a sweet observation of its own? Along with their son, there is a palpable sense of care and closeness that is touching. La Cage Aux Folles has a simple message about family (hopefully one we’ve all now learned) and it makes it powerfully enough to get the audience up on its feet.

Until 23 September 2023

www.openairtheatre.com

Photos by Johan Persson