Titanique The Musical
CLIENT
Situation Interactive
TECHNOLOGIES
WordPress, PHP, JavaScript
YEAR
2022
EXTERNAL URL
A Celine Dion jukebox parody that retells Titanic from Celine’s fictional perspective. Tonally unlike anything else in my portfolio — built lean for an Off-Broadway budget, then scaled to eight cities worldwide, an Olivier Award, and a Broadway transfer to the St. James Theatre.
Led the full build at Situation Interactive.
Background
A scrappy Off-Broadway parody needed a digital presence that punched above its weight.
Most of my Broadway portfolio operates in a register of prestige — Tony contenders, Pulitzer winners, Spielberg-produced adaptations. Titanique occupies a completely different corner of the theatrical world. Written by Tye Blue, Marla Mindelle, and Constantine Rousouli, with music supervision by Nicholas James Connell, the show had the kind of premise that travels fast on social media: absurd, specific, and instantly shareable. It was preparing to open Off-Broadway at The Asylum Theatre in June 2022 with the kind of grassroots buzz that no marketing budget can manufacture. The production needed a website that could convert viral curiosity into ticket sales — a clean, focused digital presence that let the show’s personality do the talking.
Off-Broadway budget, Off-Broadway timeline — but the audience it was about to find would dwarf most Broadway runs.
Implementation
A simple design system built to scale — from a downtown theatre to eight cities worldwide.
The build was deliberately lean — a navy blue primary palette, clean typography, and a modular content structure that could flex as the show’s needs evolved. No cinematic hero layouts, no animated backgrounds, no multilingual architecture. The show’s personality was loud enough on its own, and the site’s job was to get out of the way and convert interest into purchases. The ticketing calendar integrated directly with the box office, surfacing performance dates and availability in a format that minimized clicks between curiosity and commitment. The media layer handled the content density that a show like Titanique generates: production photography, video embeds, press quotes from Newsweek, Vulture, and the New York Post, cast and creative bios, and “Join the Passenger List” newsletter signup. Compared to the multi-tier ticketing architecture of a show like Maybe Happy Ending or the global calendar complexity of Wicked, this was deliberately simple — and that simplicity is exactly what let the platform scale to eight cities without a redesign.
Not every build needs to be the most technically ambitious one in the portfolio — sometimes the smartest architecture is the one that stays out of the way.
Results
Three years Off-Broadway, an Olivier Award, eight cities, and now — Broadway.
What started at a tiny downtown theatre became one of the most unlikely success stories in recent theatrical history. The production transferred to the larger Daryl Roth Theatre in November 2022, and the platform scaled with it — updated venue information, expanded content, and a ticketing calendar that handled three years of extensions and sellouts through June 2025. Three Lucille Lortel Awards in 2023 including Outstanding Musical. An Olivier Award for Best New Comedy when the production opened at London’s Criterion Theatre. Eight cities worldwide — New York, London, Paris, Sydney, Montreal, and Toronto among them. The site continues to serve as the show’s digital home as it prepares for its Broadway debut at the St. James Theatre in March 2026, with Jim Parsons, Deborah Cox, and Melissa Barrera joining the cast. A platform built for a scrappy Off-Broadway parody is now powering a Broadway launch — and has never been redesigned.
Four years, eight cities, zero redesigns. The lean architecture was not a compromise — it was the reason the platform survived every phase of the show’s improbable trajectory.
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