Musicalization of one of the biggest disasters of all time

Moonlight Amphitheatre’s latest effort, Titanic, the Musical, boasts a book by Peter Stone, with music and lyrics by Maury Yeston. The script attempts to move expertly between three classes of passengers, officers, and serving staff, but also contains some deadly boring sections.

When one attempts to dramatize and musicalize one of the biggest disasters of all time, the story often slides into the realm of documentary, as we see here.

The production, directed by Larry Raben, pays homage to the dead. In the program Raben states that he has enhanced the storytelling without overshadowing it. Yet a third of Act One drags with a plodding intensity. Fortunately, the emotional arc and the unfolding of individual stories of the immigrants and the uber wealthy of the day become involving as the play goes on.

The overall production ranks as highly impressive and takes advantage of the many technical innovations of contemporary theater. Projections of actual photographs of the Titanic, used both as backdrops and enhancements of constructed drops and set pieces are superbly handled by Jonathan Infante. Robert J. Townsend, as Thomas Andrews, the man who built this massive ship, gives a superb portrayal of a guilt-ridden visionary whose vision has gone wrong. Steven Glaudini as J. Bruce Ismay, the promoter behind the maiden voyage, gave this selfish, arrogant man the master’s touch of a talented actor.

As Captain E. J. Smith, the man at the helm, Norman Large shows us a multi-layered character tortured by an immense responsibility.

Richard Bermudez, as Frederick Barrett the Stoker, etches a clear-cut being with an incredible singing voice.

Other actors of note: Ralph Johnson and Susan Stuber, as the wealthy Strauss couple; Christine Hewitt, as the bold passenger; Charlotte Cardoza, Greg Nicholas, and Bets Malone as the eager social climber, Alice Beane and her faithful husband Edgar.

As three hopeful Irish lasses, all with the first name of Kate, Shaina Knox, Sarah Errington, and Katie Sapper are naturally funny and entertaining, as is their pal, Jim Farrell, played by Scott Arnold.

This is not a musical redolent with hummable tunes. But some melodies do resonate. Among them: “There She Is” and “The First Class Roster.” “Lady’s Maid,” as performed by the three Kates, is a standout. As is “Still,” a gorgeous love song sung by Johnson and Stuber.

While there are good voices and great choral work in this production, many lyrics remain unintelligible. Yet, this mounting of Titanic is notable for the sheer immensity of the project and is a fitting tribute to all those souls onboard who never made it to America.

Playing through September 3