Review: Courtroom docudrama, 'Titanic', draws parallels with the pandemic

Nate Burger, Alys Shante Dickerson in Court Theatre's 'Titanic.'  photo courtesy of Court Theater

Going the extra mile for theatre during the pandemic means installing three socially distanced, plexiglass sound booths, a task executed by Arnel Sancianco's scenic design in the creation of Titanic (Scenes from the British Wreck Commissioner’s Inquiry, 1912). This virtual play is written by Owen McCafferty, directed by Vanessa Stalling, produced by Court Theatre in Chicago, and streaming through July 11th.

Listening was the mode of choice for those in 1912 when the Titanic sank and it seemed appropriate that this show relies heavily on sound.

In the opening scene, fictional character, the clerk of the court (Xavier Edward King) relays a list of materials. Among the items include 1,000 bottles of wine, 75,000 pounds of fresh meat, and four cases of opium. All items found on the Titanic. The clerk introduces the nonfictional characters based on surviving staff and then starts the testimony with the characters' investigation of the wreck.

Being more accustomed to a visual form of artistry, I rely more heavily on my other senses during this show and even close my eyes to avoid distraction. The running notes, and sudden changes in the bass, and shrieking dissonances help convey the angered interrogation made by Charles Lightoller (Ronald L. Conner), the commissioner (Alys Shante Dickerson), and the attorney general (Charles Joughin). Some of the inquiry in  McCafferty's playwright highlight specifics that may have been overlooked, like this question posed to Reginald Lee:

Have you ever had glasses?

Yes.

Have you found them of use?

Lady Duff Gordon (Bri Auida) displays great innocence and naivety and its her contrast in her tone and her quality in speech that creates a powerful image.  The sound relays the victim's cries and pleas, and initially, Lady Duff shows very little emotion, until she's overwhelmed by fast pace inquiry in the form of accusations: Did you tell them to row faster in order to avoid the cries? Her facade vanishes and is replaced by a deep empathetic look I'm hoping for. 

This Titanic production took inspiration from the pandemic.  Its written in the program notes in a discussion with sound designer Mikhail Fiksel:

Between the 109-year old Titanic disaster and today’s pandemic have been integral to shaping the story. The handling of catastrophe, the lack of action and conflicting communication to avert catastrophe, along with the traumatic legacy it leaves behind, all have guided the team’s understanding of the play.

Blackouts of a character's window note transitions in scenes.  The video process was made with multiple cameras,so viewers can access to the entire stage and have the freedom to decide which window to focus on. The characters are in formal attire,  black suits,  and strangely reminiscent of ESPN sports commentary.

As the inquiry gets closer to the sinking of the vessel, the music intensifies, and the feeling is similar to the first time I witnessed Titanic (1997). If only we could carry around compositions like this in our head wherever we went so we could feel moments with more force.

 Buy tickets at overture.plus/patron/court-theatre.