The Fame Reporter interviewed incredible theatre performers Keane Sheppard-Fletcher and Abigail Dixon who play Cal and Molly Brown respectively in the Off-Broadway hit sensation ‘Titanique‘, now playing at ‘The Grand Electric’ in Sydney until 19 January.
Playing in the first city outside of the Off-Brodway production, Sydney loves this comedic show. When the music of Celine Dion makes sweet Canadian love with the eleven-time Oscar®-winning film Titanic, you get TITANÍQUE, a musical celebration that turns one of the greatest love stories of all time into a hysterical and joyful party aboard the Ship of Dreams.
We sat down with the stars of the musical comedy and talked about their love for this show and their characters, their theatre backgrounds, performing Celine Dion’s greatest hits with a tragic twist at the vintage Grand Electric theatre and more.
Keane, Titanique is such a unique fusion of nostalgia and camp comedy. How did you prepare to play Cal, a traditionally serious character, in such a light-hearted and exaggerated setting?
I know some people wanted to watch the movie before we went to rehearsals, but I said, ‘absolutely not’. I didn’t want to get any ideas from the movie of Cal. I mean, it’s all in the script really, his jokes and the tone of his character are all there in Tye Blue, Marla Mindelle, and Constantine Rousouli’s script. That was the great thing about having Tye with us in rehearsals, as he would massage the role to suit our own personalities.
At the start of rehearsals Tye said, ‘I want you all to bring yourselves to these characters. He gave us free reign, especially for the first couple of weeks to play and experiment with different things and accents until we all settled on what we thought was working best for the piece.
I have worked with international creatives before, sometimes they have a certain idea of how a show works in their head and are quite strict and try not to deviate from that a lot, which is understandable if it is a product that works.
He was so open to all our suggestions, collaborations and our Australianisms. We have changed a few things to suit our humour in Australia.
Abi, Can you share how you’ve approached playing Molly Brown in Titanique? What qualities of hers resonate most with you?
I was little unsure at the start, because I wasn’t sure whether to angle her more towards Kathy Bates (played her in the film) or how saucy she is in the script, so I just found a happy medium in that sense.
I think I put a lot of myself into the character and wanted to approach it as organically as I can, and the comedy doesn’t overshadow the fact that she is the caring, maternal figure of the piece and she is still intrinsically Kathy Bates that we all know and love.
Titanique is known for its wild humor and irreverence. Can you share one of the funniest moments you’ve experienced on stage during this production?
K: It is always to do with how the audience reacts. That’s what is great about the show, the audience is like the extra character, they are new every night and jokes and improvisation changes depending on the vibe of the room.
It is like a living, breathing piece of theatre and no two shows are the same. The rhythm of the script is quite specific.
Once we had settled on the shape of the show in rehearsals, that was all set. Ty leaves room for moments of improvisation and spur of the moment things, so it’s a nice balance.
A: Stephen Anderson that plays Ruth is a master of improvisation and as is Marney McQueen who plays Celine Dion. Even when either of them are unwell and we get the covers on.
We are all pretty fantastic as a cast at creating humour out of nothing so it is always wonderful to stand backstage when they are doing their improvisation moments in the show.
I don’t think there has been a show yet that I haven’t giggled backstage waiting to go on and I am always in the wings for both of the big improv scenes. I am always there chuckling and trying to prepare to be somewhat serious.
Keane, you’ve played several high-profile shows across shows like The Rocky Horror Show and Priscilla Queen of the Desert. What attracts you to these larger-than-life ensemble shows ?
I like a song that is a little bit tongue and cheek, The Phantom of the Opera is probably the odd one out. I love shows that are a little bit left of centre that got their start in a strange way. Titanique and Rocky Horror, they are completely different, but I feel like they come from the same place.
Doing Titanique in The Grand Electric feels like how I imagine the early days of Rocky Horror would have been. The audience is super up close and intimate with that specific style of humour, camp, smart and gay.
So I love these shows that aren’t the traditional musical theatre show, they feel more interesting and I fit better into these non-traditional shows.
You’ve performed in diverse productions—from biblical comedy in Christ Almighty to ensemble work in Mamma Mia! How have these roles prepared you for Titanique?
Mamma Mia was a hoot, we did it whilst we were still studying. We did Grease and Mamma Mia at the same time. Christ Almighty was a hilarious spoof show on the Bible, written by my now boyfriend, Tommy James Green.
Performing with Pro Am colleagues and stand-up comedians in that space, it sort of anchored me to hold my own in this group and cast that I’m in now, Titanique, because they are all comedy genius’, really it is just stepping up into your own.
I get to practice those chops and stretch myself musically into 8 shows a week, doing what I love.
The show revolves heavily around Céline Dion’s music. Do you have a favorite Céline song that you love performing or hearing during the show?
A: I like performing my song, it is one of her B sides, called ‘Seduces me’ because I had never heard of it before, so I didn’t have the anxiety of having to recreate anything that she did. I have talked with so many people now and my husband absolutely loves the original version of the song.
But I love ‘Taking Chances’, the first big rousing group number, it is so good. Marney who plays Celine is singing her face off and the audience is loving it.
We musical theatreise a little bit of the song, to bridge the gap between the script and working the Celine songs into it. It is the first taste the audience gets of this is what the song is going to be.
A: Even when we are not on stage, we sing all the songs. They are all magical and I grew up with Celine Dion. This might be controversial because my favourite should be the big 11 o’clock number, but my favourite is actually, ‘Tell him’, with Celine and Rose.
It is a gorgeous ballad and original sung by Barbara Streisand and Celine Dion in the real world. We have made it a trio and full of comedy and I love it.
How do you manage the energy of performing in a production that’s both vocally demanding and requires comedic timing night after night?
K: I have understudied a lot before, which is a great playground for honing your skills and developing good habits and discipline. This is my first bigger role in a mainstage production and it definitely is a different challenge of maintaining the energy 8 shows a week.
Vocally, everyone is singing their faces off, ‘for the gawds’, so every has their vocal regime and warm-up. It is such an ensemble piece, Marnie really steers the ship (pun intended) as Celine.
Molly Brown is known as “The Unsinkable.” How do you infuse that energy into your portrayal?
A: Making her a strong, brassy, maternal figure. Molly Brown’, she is a real woman and did a lot for women’s rights after the Titanic.
That is pretty big shoes to fill and the only real piece of history in the Titanic film that we know and love that comes through in the characterisation. The only analogy I can think of right now that I can relate it to, is when a woman sees a child in a car accident and lifts the car up and that get that super strength.
Super maternal unsinkable energy that she is going to prevail no matter what and she is the backbone of the piece.
Abi, your theatre journey started at the Queensland Conservatorium of Music. How did your training there shape your transition into professional theatre?
I have always done amateur theatre outside, but I was a registered nurse for many moons. I am from the UK originally but I thought I would do nursing in Australia so I can support myself through drama school in England.
I auditioned for drama school in Australia as a practice run before, I made the big move, and I got in. So, I studied at the Queensland Conservatorium of Music and a lot of the teachers there are from the West End in London.
It was the best thing I have ever done, and it was a wonderful school, and I really loved it. I loved my peers and my teachers, and I got a lot out of it. It set me up for hopefully a career in the arts for as long as I want.
How has the audience reception in Sydney been, compared to other productions you’ve been involved in? Have there been any particularly memorable interactions with fans?
A: The people that run it are magnificent, a wonderful crew of people that work in the bar, we all support each other, the front of house are great. It’s wonderful because it is old and vintage, has history and is covered in mirrors and fabulous.
K: The audience reaction has been amazing, we have had consistent audiences throughout the run but even in the last few days, like how it was Off-Broadway, word of mouth is picking up more and more.
We do a big sing-along at the conclusion of the show that everyone can post on social media. We have been selling out for the last 3 days and it is the middle of the week.
It feels like it is a show that people might travel to Sydney for. You can see the show then go out to the clubs and make a night of it. It feels like a precursor to a party.
A: Honestly, I think it is a fabulous fever dream of a show. I think of it as a new cult movement. There are people who have gone to the off-broadway show more than 100 times. We already have someone here that has been 18 times. It is an opportunity to sit back and have a laugh, no strings, nothing to be taken seriously, we sing very serious lovely songs.
You don’t think putting a bunch of world-famous love ballads and a sad story would make a comedy, but it does. Pure comedy, people come out feeling elated and it washes away the worries of the day.
Fame Reporter Word Play
Dream collaborator?
K: My peers and write something new with them.
A: Olivia Coleman
Favourite song of all time that you never get sick of?
A: Mama will provide from Once on this Island
Causes you are passionate about?
K: Animal Welfare – we have two British Blues
A: Abortion Rights
Celine Dion?
K: Backwards suit
A: Head Scarf
Dressing Room necessity?
K: Phone charger
Go-to dance move?
K: Drinking a glass of red wine in the corner
Unlimited show budget – what dream show would you do? Who would you play and who would play opposite you?
K: Maybe a queer spin on Les Miserables
A: Legally Blonde, I would play Paulette and Mrs. Lovatt from Sweeney Todd
TV Binge?
My Kitchen Rules or any cooking show
Finally, favourite thing about performing?
K: It uses every part of you, physically, emotionally, vocally and I do love the collaboration as well. I am quite introverted in my real life but on stage there is nothing like being with a group of people and it all comes out.
A: Singing and Comedy
TICKETS
Now playing until 19 January 2025
The Grand Electric Theatre
Photos supplied
The Fame Reporter Social Media
YouTube
Instagram
Twitter
Facebook
The Fame Reporter 