The unsinkable Céline Dion fuels an off-Broadway sensation of Titanique proportions
is not a Canadian show, it certainly is Canadian-adjacent – centring as it does on Dion, spoofing the work of Ontario-born Cameron, and even featuring Victor Garber as a secondary character . Indeed, the show advertises itself as what happens when the Dion catalogue “makes sweet Canadian love” with Titanic.
How loving, however, is it toward the Canadian icon – a figure who was regularly the butt of talk-show jokes back whenpremiered and, if Rolling Stone’s shocking omission of her from its just-released list of 200 Best Singers of All Time list is any indication, remains a bête noire of music critics.with co-star Constantine Rousouli and director Tye Blue, has Dion’s mannerisms down – the chest bumps, the sky salutes – and has mastered the child-like astonishment that often pops into the singer’s eyes and the silly way she is wont to wiggle across a stage. She also has the pipes to deliver convincing renditions of Céline’s songs – in their original keys, no less. As for her attempt at Dion’s accent, well, it’s not the worst Québécois I’ve ever heard. While her portrayal certainly leans into the goofier aspects of Queen Céline’s persona, Mindelle says she and the rest of the creative team have nothing but “love and respect” for the 54-year-old singer. As for whether that is reciprocal, at the time I spoke with Mindelle in December, Dion had not seen the show herself. But the actress said members of her team had given their blessing after attending, including David Foster, the Canadian producer of many of her chart-toppers, her publicist and some of her backup dancers.had been sharper about the superstar , its heat-seeking box-office momentum might have gone ice cold when Dion revealed at the beginning of December that she had been diagnosed with stiff-person syndrome, a rare neurological disorder, and would be postponing her 2023 tour. Instead, Mindelle says the singer’s courage in the face of this latest personal adversity has led her not to doubt“Sometimes I could get in my own head about embodying her – but I realize that everything I do now, it’s not for myself anymore,” she says. “I want this show to be a refuge and a vessel for all of her fans who had tickets for their concerts. … And I want her to know that her legacy and literally her heart lives on and on in this show.”has become quite the cult phenomenon – and has been carefully cultivated as such by lead producer Eva Price, whose Broadway shows include. It started its life in June being performed around improv and comedy shows at a 160-seat basement venue called Asylum NYC. After filling that space to standing room for months, it moved to the bigger 260-seat Daryl Roth in November. From one angle, the show’s success may seem entirely predictable: Nostalgia for the 1990s is at a new peak, and both Dion, who was ubiquitous in that decade – releasing a whopping 13 records – and, which recently celebrated its 25th anniversary, are major pop-culture phenomena of those years when humanity’s analog past crashed into the iceberg of its digital future. But Price was initially skeptical about the comic concept of the show and its untested creators until she attended one of its pop-up concerts in Los Angeles as a courtesy to Rousouli, who had starred in a previous off-Broadway show of her titledShe found herself laughing more than she had in a long time: “I hadn’t realized what a love letter to Celine and the movie this was going to be.”invest millions of dollars on a bigger off-Broadway production right away, but to let the show grow through word-of-mouth. “Asylum not only afforded us a very economically viable business plan to open there, it also afforded us the ability to overdeliver on expectations,” she says, of the venue run by Winnipeg-born Alan Kliffer. “And nothing sells a show better than that no one can get a ticket to see it.”TitanicFoster, who worked on many of her seminal albums including, showed up to a concert reading at Green Room 42 in New York with his lawyers – and left happy to voice his support and lend his tunes to the show. But other well-known songs with a long list of co-writers from the Céline catalogue were either not possible to license –
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