“Titanique” is Coming to Broadway, and Honestly, Good

Company of Titanique (Evan Zimmerman)

by Chris Peterson

I don’t think I’ve smiled this much at a piece of Broadway news in a long time.

Titanique coming to Broadway just feels right. The kind of right that reminds you why you fell in love with theatre in the first place, before everything became about grosses and awards campaigns and whether something is “serious enough” to justify a Broadway house.

For those who somehow missed the phenomenon, Titanique is a campy, loving, unapologetically ridiculous retelling of Titanic… through the music of Céline Dion. Yes, that Céline. Yes, that movie. And yes, it is exactly as unhinged and delightful as it sounds.

This is one of those shows that didn’t ask permission. It showed up Off-Broadway, fully formed in its silliness, and said, “We’re here to make you laugh until you cry, and maybe sing along while we’re at it.” And audiences responded immediately. Not politely. Not cautiously. They responded loudly. Sold-out runs. Word of mouth that spread faster than you could finish saying “My Heart Will Go On.” People dragging friends back for a second and third time because they needed someone else to see that moment or that joke or that insane Céline riff.

Critics, for once, were fully on board. The reviews have been genuinely glowing, the kind that don’t hedge their praise. Words like hilarious, joyous, clever, and wildly entertaining kept popping up. And not in a “well, for what it is” way. More like, “This knows exactly what it is and absolutely nails it.” That confidence is everything.

What I love most about Titanique is that it understands camp is not laziness. Camp is precision. It’s timing. It’s commitment. Everyone involved has to be fully in, with zero embarrassment, or the whole thing collapses. And this show commits hard. It’s absurd but smart. Silly but specific. Loud but strangely heartfelt. You can feel that everyone on stage loves theatre and loves the audience just as much.

Now it’s heading to Broadway, landing at the St. James with previews starting in late March and an official opening in April. And honestly, good. Broadway needs this energy right now. Broadway needs a show that reminds us that joy is a valid artistic goal. That laughter isn’t lesser. That parody can be crafted, intelligent, and deeply theatrical.

There’s also something kind of poetic about Titanique making it to Broadway after conquering just about everywhere else. International productions, awards, cult status, TikTok clips, the whole thing. It didn’t rush. It didn’t chase Broadway. It built an audience first. It earned its place.

I keep thinking about all the people who are going to wander into this show on a random weeknight. Tourists who don’t know what they’re walking into. Subscribers who added it because “why not.” Theatre kids who have already memorized every joke. And all of them laughing together, singing together, leaving the theatre lighter than they walked in.

That’s the kind of Broadway memory that sticks.

So yes, I’m genuinely happy Titanique is coming to Broadway. Not because it’s prestigious or groundbreaking or important. But because it’s pure theatre joy. And sometimes, especially now, that’s more than enough.