This article appeared in The NY Times a month before I started rehearsals
for the National Tour. The way it describes the workings of the show
is almost exactly how it was for us on the touring production, (save
for some larger scenic pieces which we couldn't have.) Also, most
of the production team named here, as well as several of the actors came
out on the tour with us.---DP
The New York Times
Weekend Movies Performing Arts
October 2, 1998
Keeping ‘Titanic' Dynamic
By Robin Pogrebin
It is 12:30 P. M. on a Wednesday on West 48th Street in Manhattan. Cars
with suburban license plates pull into nearby garages. Charter buses
unload streams of tourists who set out trolling for pre-theater lunch
deals. And inside the Lunt-Fontanne Theater, the strains of a lone clarinet
float up from the orchestra pit, just one of a very different set of
rituals under way in preparation for the matinee performance of “Titanic.”
Onstage, the gangplank – emblazoned with “White Star Line” in
black on blinding white canvas – is lowered from where it hangs
in the wings and pinned into place for the opening number, Ginger ale
is poured into the wine bottles and stored on the prop shelf, next to
the boarding passes, binoculars, stateroom towels and telegrams. Cloth
napkins are folded on the long first-class dining table. And the hydraulic
elevator that lifts the lower portion of the stage to create two levels
and tilts to simulate a sinking ship is tested to make sure that its
computerized signals are functioning.
So begins a day in the life of a Broadway show. Audiences generally
know a production by its stars, story, and music. Rarely do they get
a glimpse behind the scenes, where the set and costume changes can be
as intricately choreographed as the dancing, where the relationships
may be as intense as those the actors portray onstage and where the unexpected
crises can be even more suspenseful that the plot.
“Titanic” offers a particularly compelling example of the
magnitude and the minutiae of this backstage drama. To begin with, the
show is a beast of a production. There are 44 actors: 21 men and 15 women
in the cast, plus 8 understudies who step into a variety of roles.
The production is technically elaborate, involving everything from smoking
coal bins to a sliding piano to a precarious crow’s nest from which
the lookout spots the iceberg. Because there is so little storage space
in the wings, about 40,000 pounds of scenery and lights are hung in the
fly lift and move during the show.
The entire stage is raked at an angle, which makes high heels something
of a challenge and has given several actors and stagehands chronic backaches.
And handling all the technical elements, including raped scene and costume
changes requires a substantial backstage crew that I both quick and calm,
strong yet graceful.
There are 13 carpenters, 7 prop men, 3 sound engineers, 2 electricians,
1 light-board operator, 3 follow spot operators, 2 men who run the automation
computers and 3 flymen who pull the ropes that move the nonautomated
pieces in and out. Co-ordinating all of this are four stage managers
led by Leigh Catlett, whose even temper and gentle manner somehow make
the whole operation look effortless.
“ I have a great team of stage managers, and the stagehands are
a great, efficient bunch of people.” Mr. Catlett said. “ So
they actually make my job very easy.”
Because the director, Richard Jones is based in London, responsibility
for keeping the show true to its original self falls to Susan Green,
the production supervisor, who also runs auditions and rehearsals for
replacements and recently cast the touring company of “Titanic”.
Mustaches Wearing Out
The upkeep of the show between performance is a formidable undertaking.
It includes the maintenance of 71 wigs, all made of human hair, every
one needs to be reset after each performance, constantly brushed and
occasionally shampooed. To handle all of this, the show has five hair
and wig dressers.
Calabrese, his assistant, prepare the wigs for the afternoon performance: “Grecians” for
the first-class passengers, “Gibsons” for second class, single
braids for third.
The captain’s beard comes in four sections – chin, two chops
and mustache – and has to be replaced about every five months;
the mustaches for other men in the cast wear out faster, particularly
because they have to be ripped off and reapplied at top speed during
quick changes. Each actor has about 20 rapid costume changes during the
There are more than 180 costumes, every one of which was custom made
for each actor. More than 275 hours are spent on costume maintenance
a week, including the washing, starching and pressing of about 300 shirts.
Juggling all this are 14 wardrobe people, 1 for every 3 actors.
Last Minute Cast Changes
By 1:30 P.M. the show is technically ready to go. The crew has run through
every special effect, checked the lights and the sound. Backdrops the
furl from the ground during the production have been loaded into the
floor. The smoking room has been rolled out and the radio room rolled
in. The porthole in the radio room has been switched to a day sky from
a night sky.
Suitcases are lined up neatly underneath the stairwell. A wardrobe person
walk by with an armful of life preservers, copies of the actual vests
worn on the Titanic.
The cast arrives for the half-hour call. An actor who is late is obligated
to call and alert one of the stage managers. If a cast member still has
not shown up by the 15-minute mark, a swing, an actor who substitutes
for several roles in the show, steps in.
That’s what happens today. At 1:30 Christopher Wells, who plays
Jim Farrell, the young Irishman on whom a steerage passenger, Kate McGowan,
sets her sights, calls to say he is running late. By 1:45 P.M. he still
has not shown up, and Jonathan Brody, a swing, is tapped to go on. Mr.
Brody has not played the role of Farrell in nine months, yet he seems
unperturbed. He hurriedly shaves, gets into his costume, looks over his
lines, and goes on.
The swing who shares his dressing room, Romain Fruge, blithely sewing
a quilt he brought in to pass the time. He will not be stepping in for
anyone today. After the scene known as “lifeboats” toward
the end of Act 2, the swings are free to go.
A Conductor’s Workout
Backstage the first notes of the overture crackle through the dressing
room speakers. Actors waiting in the wings as the opening number begins
watch the conductor on a backstage monitor, so they can keep tempo during
their offstage singing and make their entrances on cue.
Kevin Stites, the musical director, said the show was one of the most
difficult to conduct, in large part because the music was practically
continuous. Mr. Stites who recently left the show to work on the forthcoming “On
the Town”, said he only got a two-minute break in Act 1 and a one-minute
break in Act 2. He said his favorite part was the opening sequence when
all the passengers are introduced.
“It keeps building,” Mr. Stites said, “It doesn’t
After the lengthy opening sequence, the men dressed as the Titanic’s
crew members Start Stripping as soon as they enter the wings to change
into their second-class passenger costumes, replacing their officer’s
caps with bowlers, pulling pinstripe trousers on over their uniforms.
Meanwhile the scene in the captain’s bridge, flown down form the
rafters, begins up above.
On the stage, carpenters attach the boiler room boxes for the next scene,
and one of them fills each box with a puff from a smoke gun. Farther
upstage, behind the scrim and out of sight of the audience, long tables
are lowered from the wings, covered with cloths, dishes and glasses,
the salt shakers and silverware attached by velcro. “Titanic” is
The matinee performance starts smoothly. The backstage crew is clearly
comfortable with the production, having done it for a year and a half.
Everyone seems to know where he should and should not be. So do the castmembers
none of whom are allowed onstage during scenery shifts. The quick scene
and costume changes have to work like clockwork. And they do.
At one point during the number “What a Remarkable Age This Is!” and
before “Ladies Maid,” with only one song in between, 27 men
have to change from first-class into third-class passengers. All in one
corridor. All at once. They charge offstage. A blur of black and white
tuxedos quickly degenerates into a locker room of underwear, and somehow
the actors re-emerge four minutes later as working-class stiffs in wool
trousers, jackets and boots.
Without the hyperconsciousness the stage managers demand, the set can
be life threatening. Actors often have to exit from high levels in the
dark. When the elevator part of the stage rises to its full height during
the lifeboat scene, there is a 20-foot drop to the basement. The actors
have been instructed to hold onto two people at all times.
“If I’m really tired, I have to rest before the lifeboat
scene,” said Victoria Clark, who has played Alice Beane, the second-class
passenger who aspires to first-class grandeur, since the beginning. “There
is no railing up there. I have to say: ‘Wake up. Pay attention.
You can never walk through the show. If you’re feeling under, you
have to find the energy form somewhere because it’s dangerous.”
The show’s dance captain, Mindy Cooper, said a big part of her
job was teaching new cast members how to fit into this harrowing backstage
puzzle. “The first day of rehearsal I say to them, “Backstage
is more choreographed than onstage because this theater is not big enough
for this show,” she said “ I also say, ‘ This is a
set that can kill you, and you can’t be in the wrong place at the
1,000 Batteries a Week
During this matinee, Mr. Brody does a commendable job as Farrell, although
Jennifer Piech, who plays his love interest, Kate McGowan, later confides
that she has to nudge such replacements into position to keep them form
colliding with other cast members. During intermission, Mr. Brody practices
the part in the second act when he has to hang out from the wings on
a harness to simulate leaning over a stairway rail as the boat is filling
up with water.
The day’s next mini-crisis, after Mr. Wells missing his call,
is a technical one. Several of the 38 wireless microphones worn by the
actors are picking up interference. There is no time to figure that out
now. The stage managers day the problem might be the construction site
next door, but there is no time to figure that out now. Microphones with
clear signals are taken away from actors with less singing and given
and given to actors who have more. The production typically goes through
more than a thousand AA batteries each week.
The show is not frenetic for everyone all the time. There are periods,
for example, when members of the female chorus lounge quietly in their
dressing rooms. One studies lines for a different show. Another plays
an electronic game of solitaire. Another does needlepoint.
The men tend to be a little more raucous. Joseph Kolinski, who plays
the first-class passenger Benjamin Guggenheim, tells his dirty joke of
the day. (It is unprintable).
Like most theatrical productions, “Titanic” has its backstage
rituals which castmembers tend to repeat at every performance. Rather
than tire of these little traditions, the actors seem to treasure their
familiarity. At the beginning of each act, for example, all of the cast
members touch the fake pregnant belly of Christine Long, who plays Madeleine
Astor, for good luck before they go on.
Taking Roles Seriously
In Act II, actors cluster at the bottom of the stage-right stairs for
what they call “tea time”: paper cups of water form the water
cooler. One of them brings a cup to the conductor in the orchestra pit.
Mr. Stites, the musical director, saved every on eof these cups. By the
time he left the show, a tall stack of them teetered next to his music
At the same point during every performance, Ms. Clark and Hal Davis,
who play Alice and Edgar Beane, s sit on the same backstage staircase
talking, and Mr. Davis ties Ms Clark’s life vest just before they
enter for the lifeboats scene.
Although the actors kid around backstage –“Bye, time to
die” – onstage they seem to inhabit their characters and
say they take their roles very seriously. For example, to prepare for
her part as Ida Strauss, the philanthropist who insists on going down
with her husband, Isador, Alma Cuervo said she read through Mr. Strauss’s
personal papers and researched the character’s Jewish roots.
Similarly, Martin Moran, who has played the role of Harold Bride, the
radioman, since the musical’s workshop production, steeped himself
in the arena of wireless machines so that what his character taps out
in Morse code onstage is actually the Titanic’s call letters and
S. O. S.
A Technical Crisis
At 4:20 P.M. castmembers come onstage behind the curtain to take their
place for the lifeboat scene, and the elevator underneath them begins
to rise. But today the elevator jams. There is a moment of confusion
as the stage crew tries to figure out what has gone wrong and decides
to stop the show. Moments later, a voice comes over the loudspeaker to
make an announcement to the audience. Because of technical difficulties,
there will be a slight delay.
The stage managers try to lower the elevator into place, and it bangs
into the stage. The cast is evacuated form elevated side ramps. The typically
calm production stage manager, Mr. Catlett, is suddenly in high gear,
darting around backstage directing various crewmembers on his headset.
Heather Cousins, an assistant, remains up on the elevator, pacing. At
one point, she holds her had in her hands; at another, she puts her palms
together in prayer. It turns out that the computer that runs the automation
had gotten out of sync with the actual apparatus. The last time something
like this happened was December.
Though the delay last only ten minutes, it feel like forever. Finally,
the problem is corrected, the cast re-enters, and the show resumes.
One would think that such incidents would shake most actors, make it
difficult to pick up where they left off. But this group has been through
It’s no secret that “Titanic” had one of the most
difficult gestation periods in Broadway history. With a budget of $10
million, the show was too expensive and technically elaborate to try
out on the road, so the director, Mr. Jones had to make his mistakes
in New York, in front of preview audiences. Sometimes the show was even
Members of the cast and crew laugh now when they recall those trying
days, when the show was constantly changing, when the went through countless
different endings – people jumped overboard in one, the ship split
in two in another – when lines were cut and others added, when
they wondered if the production would ever be finished, much less successful. “ We
did a different show ever night,” said Ms. Cooper, the dance captain.
Then there was the bad word of mouth, the tittering about how a musical
about the Titanic was a contradiction in terms. The technical glitches.
And the bad reviews. But then came the Tonys: five of them including
Best Musical of 1997( the show also won for best book, score, orchestrations
and set.) And suddenly “Titanic” with story and book by Peter
Stone and music and lyrics by Maury Yeston, was a hit. No original cast
or crewmember, many of whom are still with the show, will forget that
“We screamed for about 24 hours,” Ms. Cooper said.
Although the musical opened well before James Cameron’s’ film “Titanic,” starring
Leonardo DiCaprio, the frenzy the movie created gave the Broadway show
another welcome boost.
The depths and heights of the experience, people involved in the show
say, make the cast and crew unusually cohesive. Every person interviewed
marveled at the level of support and generosity that has pervade the
production from the beginning.” We were so clobbered that we felt
like we went thought the wars together,” Mr. Moran said. “The
gratifying experience of coming out the other end and being accepted
and being enjoyed and loved, that was very bonding.”
Snapshots of children of cast and crewmembers are taped up in the wings.
One male dressing room features the first resume pictures of every member
of the cast. People do thing together when they are not working.
Aside from having weathered hard times, “Titanic” veterans
say, their closeness has to do with the ensemble nature of the show itself;
while there are principal parts, there are no stars. “ The responsibility
for telling the story is really distributed throughout the company,” Mr.
And because the musical strength of the show lies in its choral singing,
Mr. Stites said, “there is no room for any diva attitude.”
Next Voyage is Smooth
As the matinee lets out at about 4:45, a few autograph seekers hover
expectantly at the stage door. The cast and crew disperse for their dinner
break. Some of them rush home to say hello to their children of simply
to grab a bite in the neighborhood. They have to be back at the theater
The evening show is considerably less eventful. Technicians worked on
the elevator through the break, and this time it behaves. The microphone
problem persists, so some actors are still singing without amplification.
But Mr. Wells is back in his role as Jim Farrell, and the curtain come
down on a smooth performance. The crew prepares the stage for the next
day. The actors take off their makeup, change back into their street
clothes and leave through the stage door. There are no admiring fans
outside this evening. Just the post-theater traffic on West 46th Street
and audience members trudging back to the parking lots or charter buses
with “Titanic” Playbills tucked under their arms, bending
their head against an early-autumn wind.