After a string of unusual pieces, the Criterion Theatre seems to have found its new The 39 Steps (which ran there 2006–2015, becoming the fifth-longest running play in West End history). That was in the form of a madcap and quite ridiculous take on the Hitchcock thriller The 39 Steps (1935). This time, it’s in the form of a madcap and quite ridiculous take on the hit movie Titanic (1997). This is Jack and Rose’s story, but not as you know it: Rose’s mother is played in drag; the heart of the ocean is as big as a piñata; and Celine Dion, famous for singing the theme song, is in the show as a main character — mercilessly ripping it apart to suit her own ridiculous agenda.

It’s a funny show, for the most part. Most of the jokes land, but it’s about as silly a show as one could imagine. However, tiresome jokes are quickly forgotten (even forgiven) when the familiar backing of a Celine Dion number starts up. Having said that, notable omissions include “It’s All Coming Back to Me”, “The Power of Love”, “Think Twice” and “That’s the Way It Is” — some of Celine’s biggest hits. One can only assume there was a copyright issue; but with such big numbers missing, the night does feel as though it’s missing its potential. Added to that, the whole show runs at a whopping one hour forty, raising the question: “Why not put an interval in?”

Strong performances come from all the cast, with exceptional vocals from West End favourite Rob Houchen. Rodney Vubya also makes for a strong ensemble member of the cast, with superb presence and intricate harmonies that find their way through beautifully. Charlotte Wakefield is also notable as the unsinkable Molly Brown, deserving mention for her comic timing and, once again, excellent vocals. Lastly, Layton Williams (another fan favourite) doesn’t disappoint, bringing his own unique humour to every line he has. It’s camp… but we like it.

The real turn of the evening must go to Celine herself. Lauren Drew is so watchable in the role, effortlessly marrying the powerful vocals with quick-witted audience interaction and merciless parody. All delivered with a twinkle in the eye, the evening never gets close to mockery, and sits well in a place of deep respect for a great artist — as it rightly should.

Tickets available at the Criterion Theatre, 9 December 2024 — 8 June 2025.