I’m going to level with you.

I am reporting this one from DisneyWorld (my daughter’s spring break) and I still couldn’t wait to get the news out. That’s how you know it’s real.

We just joined the producing team of Titanique. And like I always do, I want to tell you exactly why.

Because the why matters. Not just for this show, but as a framework for how I think about every project I attach my name to. So let’s get into it.

Reason #1: It Exceeded My Expectations.

I went to see the show Off-Broadway. And look, most of the time, producers don’t join shows because they read a script. They join because they experienced something. A reading. A workshop. A full production.

I saw the full show. And I had a blast.

But here’s the part that really got me: I expected to enjoy it. The word of mouth was strong, the buzz was real, and I went in with genuine excitement. And it still . . . exceeded my expectations.

That’s the bar, folks. Not “I liked it.” Not “it was fun.” Exceeded. When a show clears that bar, you pay attention.

Reason #2: Pre-Existing IP — Delivered in a New and Surprising Way.

Everyone knows Titanic. That’s the point. Titanique takes something the audience already loves and turns it into something they’ve never seen before.

That word – surprising – keeps coming up. And it keeps coming up because it’s the whole game right now. You can lean on IP for recognition and built-in emotional connection, but if you don’t bring a genuine twist, you’re just coasting. Titanique doesn’t coast. It surprises.

That combination? Recognition plus surprise? That’s the sweet spot.

Reason #3: The Nostalgia Is Working Perfectly Right Now.

My team keeps reminding me that the 90s are back. And Titanic, the movie, is a 90s movie.

Here’s why that matters strategically: the people who saw Titanic in theaters in 1997 are now in their 40s. And that’s right in the wheelhouse of the average theatergoer.

The nostalgia math works when the pre-existing IP lands about 20 to 30 years before your target audience’s current age. The memory is vivid enough to hit hard, but distant enough to feel like a reunion. Titanique hits that window perfectly.

Bonus Reason (And This Might Be the Most Important One): Eva Price.

I think Eva Price is one of the best producers working today.

She did the same thing with & Juliet that she’s doing with Titanique: she found something surprising, something genuinely fun, and she delivered it at the highest level. & Juliet isn’t just a good time. It’s a surprisingly good time. Audiences walked in expecting a jukebox musical and walked out evangelists.

That’s what Eva does. And when you see a producer with that track record attach themselves to a project with this much going for it . . . you don’t wait around.

So that’s the framework: a show that exceeds expectations, built on IP everyone knows but delivered in a way no one saw coming, timed perfectly to a wave of nostalgia that’s already breaking — and led by a producer who has done it before.

Three reasons plus a bonus. All of them real.

If you haven’t seen Titanique yet, go. Bring your friends. Bring the ones who are hard to impress. I promise you — your mouth will be open. And not because you’re shocked something went wrong.

The opposite.

So tell me — have you seen Titanique? What did you think?

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