The Proposal/The Night Was Alive

Whenever I mention Titanic: The Musical, every one always reacts the same way.

"Oh! You mean with Jack and Rose and 'My Heart Will Go On' and stuff?"

No. Not with Jack and Rose and most definitely not with "My Heart Will Go On."

Titanic: The Musical came months before the famed Titanic movie, opening on Broadway on April 23rd, 1997, and closing on March 21st, 1999, running for a total of 804 performances. It follows the lives of first, second, and third class passengers aboard the RMS Titanic from he beginning of their journey till the end. What I really love about this show is that there is no main part. Really, there aren't a few main parts at all. There are so many wonderful parts in this show, so many wonderful songs and great solo opportunities, and you find yourself attached to multiple people in the show. One moment you're sympathizing with the three Irish Kates and the immigrant chorus longing for a new, better life in America, and the next you're dancing with the first class.

You can't help but be moved during this show. The music is breathtakingly gorgeous; a more classical Broadway/choral style of music. There are beautiful harmonies, with sopranos reaching for high X's as tenors sing their hearts out. Though I am a huge fan of modern musicals with heavier, rock, pop, and belter type scores, such as Rent and Wicked, the music in Titanic simply pulls at my heartstrings.

I have many favorite songs in this show, but my all-time favorite is The Proposal/The Night Was Alive. In this song, Frederick Barrett, played by Brian d'Arcy James, is dictating a message to Harold Bride, played by Martin Moran, to send to his beloved Darlene back home. The tonal purity of these two men's voices is astounding. It's clear and clean with perfect vibrato. No auto-tune needed here.

You would never guess by listening to this that Brian d'Arcy James would someday go on to play Shrek in Shrek: The Musical.

There is so much passion in Brian d'Arcy James' voice. Listen to the contrast in his voice. For example, at :37 and 1:08 he has these moments of great strength that are preceded by or lead to quieter, meeker tones. I love the way he drags out the word "devoted" at 1:18 by elongating the vowel. He does the same thing with the word "sailor's." Both words have no vibrato to them. But listen to what Brian d'Arcy James does next. After these two elongated, vibrato-less words, he switches it up with a strong, powerful "heart." It's wonderful phrasing that sounds excellent with his voice, and with his accent. I really love his little riff at :37 on the word "I" and on the word "day" at  :44. It's such a unique sound that makes impact, especially after Brian d'Arcy James  makes such a bold statement with his "Marry me" at :37. You can see the decision being made in his mind through his body movements and his powerful voice.

There is passion in Martin Moran's voice as well, but it's more controlled. With Brian d'Arcy James, you feel the passion and love seeping though his voice even on the quiet and tender parts of his song. With Martin Moran, you can hear the awe and passion, such as at 2:21 when he starts to sing about Marconi's telegraph, but you don't really get the power until Moran lets it loose, at moments like 3:21. Both men are singing with love, but Brian d'Arcy James is more enamored whereas Moran is more in awe. Moran also has a more boyish sound. He has a lighter quality to his voice, whereas Brian d'Arcy James has a rich, deep tonal quality. However, the two blend well together, and the mixture of their voices from 3:27 on is just magnificent.

I really love the orchestration and harmonies in this song. Listen, for example, to Moran at 1:38 with the phrase "My telegraph sends its messages to ships at sea." You'd expect him to go up on the word "sea" but instead he stays on the same note and it is the orchestra that makes the note change, with what I believe is a flute. It's an interesting sound, but I like it. I also enjoy how the orchestration gives you a little preview of later bits of the song. For example, when Brian d'Arcy James is first singing about his proposal at :53, you hear that the orchestra is above his voice. Then, later in the song at 3:28, Brian d'Arcy James is now singing the harmony that the orchestra was playing earlier at :53.

Marvelous, isn't it?