Transcript

Courtney Bassett (0:00)

Sat.

Matt Koplik (0:30)

Hello all you theater lovers both out and proud and on the DL. And welcome back to Broadway Breakdown, a podcast discussing the history and legacy of American theater's most exclusive address, Broadway. Normally, we would be doing the big move, and we will get to her next week. But as a nice transitional bonus episode, I want to talk about a show that is off Broadway and chose not to move to Broadway because they recognize the moment, and the moment is now. And I have with me my second favorite redhead, but my favorite redhead with legs. She knows all things about this show, all things about the subject matter of this show, and she's become a very fast, dear friend of mine. Please welcome Courtney Bassett, otherwise known as Courtney Bassett.

Courtney Bassett (1:14)

Courtney Bassett of Titanique.

Matt Koplik (1:16)

I love that.

Courtney Bassett (1:17)

Bonjour, Matt Koplik. Thank you for having me.

Matt Koplik (1:20)

Bonjour. Thank you so much for being here. So, Courtney, I know we haven't known each other very long, but I feel like you have gotten to know me pretty well through texts, meeting, social media, and you know that I'm a very discerning faggot.

Courtney Bassett (1:35)

Yes, you are. I I Earlier today, I called you a fagot of the highest order.

Matt Koplik (1:41)

Yes, I am the faggot. G O a T. Yes. But my point being, I have pretty discerning standards. I've been very open on this pod about how much I love Kimberly Akimbo and been underwhelmed by other shows. When I tell you that Titanique is tied with Kimberly Kimbo as my favorite musical of this season, I'm not saying this to blow a smoke up your ass. And it's not because you're so pretty and sitting in front of me. I've seen it three times. I and the last time I saw it, you were on a Celine. And we will get to all of that. And I got to tell you something. I told you this at the time. After the show, I got recognized by someone in the audience. They were like, oh, my God. Hey, you're Matt Koplik. I was like, yes, I am. And that was the joy of that moment was second only to watching Titanic for a third time.

Courtney Bassett (2:31)

Wow work, Matt. You got recognized before I did at your own show.

Matt Koplik (2:36)

Notes.

Courtney Bassett (2:37)

Summary

Broadway Breakdown – Surprise! TITANIQUE w/ Courtney Bassett

Podcast Host: Matt Koplik
Guest: Courtney Bassett
Date: June 22, 2023

Episode Overview

This lively and unfiltered episode of Broadway Breakdown features Matt Koplik in conversation with Courtney Bassett, star of the off-Broadway musical Titanique. The episode focuses on the phenomenon of Titanique: a parody musical that mashes up James Cameron’s 1997 Titanic film with the music (and persona) of Celine Dion. Matt and Courtney gush about the show’s brilliance, dive into off-Broadway culture, the legacy of Titanic, queer theater, Celine Dion’s quirks, building queer community through musical theater, and Courtney’s remarkable career—including her time in Natasha, Pierre & the Great Comet of 1812. The conversation is peppered with raunchy humor, zany digressions, theater in-jokes, and openhearted reflections on the joy and weirdness of theater.

Key Discussion Points & Insights

1. Why Titanique Works: Smart Camp and Queer Joy

Titanique is a parody musical blending the plot of Titanic (1997) with Celine Dion's music and persona.
- Courtney’s pitch: “Titanique is the story of the blockbuster 11-time Academy Award-winning movie Titanic as told by and through the music of Celine Dion, international superstar, pop alien diva.” – Courtney (07:00)
The show’s campy, “intentionally stupid but so smart” sensibility is seen as a love letter to both 90s pop culture and queer audiences.
- Matt: “It is a gay fantasia on national themes. On international themes. Gong. Gong. I love it when a show that is intentionally stupid is so smart and tasteful about how stupid it is." (07:28)

2. Off-Broadway vs. Broadway & Audience Makeup

Titanique deliberately chose not to move to Broadway, sensing the moment and audience was right off-Broadway.
The audience is a mix: “Fire Island gays” on one side and “a gaggle of Long Island women” on the other (12:06), creating a unique, cross-subcultural New York experience.

3. The Queerness and Community of Titanique

The show is overtly, joyfully queer—celebrating bi, gay, and non-binary identities in the cast and audience.
Matt describes the show as a rare space “where bachelorette parties and Fire Island gays come and enjoy each other… we're bridging the cultural gap here at Titanique.” (13:01)
Discussion touches on queer terminology, representation, and the importance of “embracing the weirdos” in theater: “I love it when the weirdos win. That's gonna be the tagline for this episode.” – Matt (36:07)

4. Celine Dion: From Idol to Stage Persona

Courtney’s lifelong adoration of Celine Dion—she grew up emulating her voice and style:
"Listening to her taught me how to sing. Everything she does is just ... technically perfect." – Courtney (09:45)
The show lets Courtney fully “channel” Celine—mimicking her vocal quirks, physical movement, and sense of wonder.
- Her impression grew from previous roles, including playing a Celine parody in Bedbugs! The Musical.
- Celine’s earnestness and childlike joy are central: “She is plucked from another universe … in utter amazement with the world at all times.” (31:05)
Notable recurring Celine-isms: pounding her chest, her unique accent, and being unguardedly weird and loving.

5. Backstage & Onstage Stories:

Cast Recognition: Audience interactions include humorous moments, like someone pretending to be Courtney's brother at Great Comet's stage door (02:58).
Crossover Roles: Courtney has played Celine, Rose, Ruth, and a backup singer—sometimes even in the same week (24:41, 26:46).
Improv Moments: Each performance features new improv, especially “spooky scary” moments that satirize pop culture news (such as Bill Murray dating Kelis, Al Pacino’s late fatherhood, or Jessica Alba's inscrutable career).
- “The milkshake brought the guy from Groundhog Day to the yard. And that is so spooky scary to me.” – Courtney (19:32)

6. The Queer Vibe of the Show and Its Characters

Characters like Jack and Cal are playfully reimagined with an array of queer-coded jokes (“Jack is a high-end gay… Cal is just taking loads, power bottom on Grindr with all the eyeliner.” (18:39–19:01))
“Dom top vocals with a sub bottom attitude” is how Matt describes the vocal approach (88:58), capturing the show’s mix of musical bravado and campy humility.

7. The Titanique Family—Guest Stars and True Fans

Titanique has attracted Broadway legends and celebrities: “Amanda Seyfried... Jane Krakowski, Darcy Carden, Margot Robbie…” (64:00)
Victor Garber, the original movie’s shipbuilder, saw the show and embraced the in-joke of being referred to by actor's name, not his character.
- “One of my favorite jokes is how Victor Garber is just Victor Garber. They never say his character’s name.” – Matt (14:24)

8. Career Trajectories: From Ruthless to Comet to Titanique

Courtney’s journey: from playing subversively queer roles in Ruthless (while she was still closeted), to princesses and avant-garde divas in Great Comet, to full-on camp goddess in Titanique.
- “I understudied Sylvia and I went on covering a man playing a woman. So I was a woman playing a man playing a woman. Very Victor Victoria. Very gay.” – Courtney (04:57)

9. The Titanique Creative Process & The Celine “Dialect”

Courtney discusses developing the Celine impression with intensive voice lessons, focusing on “the honk”—a specific nasal resonance typical of Celine (73:08).
- She coaches Matt in Celine’s physicality and speech (“Curl up your left lip... a lot of smirking... goose sound, honk.” (73:27))
On the shifting script: changes over time have included new punchlines (“Feckless queef” became “Walking yeast infection,” riffs on Rose’s mother Ruth, etc.) (25:57, 63:01)
Rights issues nixed certain Celine songs (“It’s All Coming Back to Me Now”), requiring creative workarounds that, as Rachel Bloom said of Crazy Ex-Girlfriend: “limitations make for better writers.” (38:41–39:46)

10. The Impact and Importance of Weird Theater

Both Matt and Courtney reflect on why “weird” works matter in theater—highlighting the importance of celebrating outsiders.
Courtney: “I love it when the weirdos win. That’s the beauty of this show and of theater.” (89:53)

Notable Quotes & Memorable Moments

On the essence of Titanique:
- “It is a gay fantasia on national themes. On international themes.” – Matt (07:28)
On Celine’s persona:
- “She is in utter amazement with the world at all times. She has this childlike wonder… I swear to God, every time she hits her chest, the whole world feels it.” – Courtney (31:05)
On audience mix:
- “Maybe the only time I can think of where bachelorette parties and Fire Island gays come and enjoy each other's company.” – Matt (13:01)
On queer theater experience:
- “I love it when the weirdos win. That's gonna be the tagline for this ep.” – Matt (36:07)
On the challenge of camp:
- “I love it when a show that is intentionally stupid is so smart and tasteful about how stupid it is.” – Matt (07:35)
On Celine’s signature:
- “That honk, but that's just a part of the French Canadian dialect. This, like, goose sound, like honk. Hello.” – Courtney (73:27)
On Titanique’s musical energy:
- “Dom top vocals with a sub bottom attitude.” – Matt (88:58)

Timestamps – Important Segments

[01:14]: Introduction of Courtney Bassett and the special bonus episode theme
[06:47]: What Titanique is—Courtney pitches the show for “uncultured” listeners
[09:45]: Courtney’s journey as a Celine Dion fan and developing her impression
[12:00]: Discussion of off-Broadway audiences—Fire Island gays vs. bachelorette parties
[19:32]: Improv moments—Courtney’s “spooky scary” Bill Murray/Kelis gag
[24:41]: Courtney on rotating between Titanique’s lead and supporting roles
[31:05]: What makes Celine Dion magical (Courtney’s deep dive on her energy/voice)
[36:07]: “I love it when the weirdos win.” Embracing queerness in theater
[46:22]: Deep cut theater TV: loving The Other Two, Great Comet recollections
[51:54]: Great Comet—rehearsal, energy, and the importance of audience engagement
[63:01]: Script changes from Asylum to Daryl Roth (venue move)
[70:19]: The origin story of Titanique
[85:12]: Celine Dion deep cuts—Courtney’s recommendations for underrated tracks
[88:58]: “Dom top vocals with a sub bottom attitude”—Titanique’s musical identity
[91:53]: Matt on seeing multiple versions of the show and cast; show’s consistency
[96:44]: Closing: Courtney’s shout-out for Patti LuPone as a Broadway diva outro

Additional Highlights

The Titanique Community

Major celebrities and Broadway insiders have attended or praised the show, from Victor Garber to Margot Robbie.
Courtney gives insight into the ever-evolving script, the freedom for improv, and the teamwork needed for nights with multiple covers/injuries.

Courtney’s Other Work

Natasha, Pierre & the Great Comet of 1812: details on the process, the experimental nature of the show, and Rachel Chavkin’s direction.
Her alt-pop band, Starbird & the Phoenix: “An indie queer pop dream pop band… harmonies on harmonies on long legs.” (57:34)
Upcoming musical project: Kill the Whale, a Moby Dick rock opera in development. (81:25)

Celine Dion “Techniques” & Influence

Courtney describes the technical challenges and comedic opportunities of playing Celine—from the chest pounding to the specific “honk” of Francophone English.
Stories of Celine’s humility, fear before going on stage, and knack for self-parody are lovingly referenced.

Where to Follow & Listen

Courtney Bassett: courtneybassett.com, Instagram: @courtney.b
Matt Koplik: Instagram: @mattkoplik
Titanique Tickets: Official Site
Podcast Reviews: Encouraged, with shout-outs to thoughtful listeners (see [96:07] for a touching Alaska fan message!)

Closing Diva

Courtney chooses Patti LuPone as the Broadway diva to play listeners out. (96:44)

Final Takeaway

If you love queer joy, camp, musical theater history, and insider stories—plus a riotously good time recapping Titanique and all things Celine—this episode delivers both the laughs and genuine heart that define why off-Broadway, and the theater queer community, matters.

Weirdos win. Always.