John Riddle on Playing Cal and Finding Freedom in Chaos

The origin story of Titanique has become the stuff of downtown theater legend. What began as a wildly irreverent parody performed beneath a Gristedes grocery store has transformed into one of Broadway’s most joyful word-of-mouth sensations. Through nearly every chapter of that evolution, John Riddle has been there, steering Cal’s campy villainy with swagger, sincerity, and sequined sleeves intact.

Long before Titanique arrived at the St. James Theatre, Riddle first set sail with the musical while attending an early concert presentation at Green Room 42. At the time, he had no idea he was about to become part of the show’s increasingly improbable journey. “I thought, ‘This is the funniest thing I’ve ever seen in my life. I had the best night,’” Riddle recalls of seeing the show for the first time.

Not long after, co-creator Constantine Rousouli encouraged him to audition for the production’s original Off-Broadway run at Asylum NYC (also called The Asylum Theatre). However, Riddle initially assumed it was casual party chatter. “I was like, ‘Yeah, yeah, whatever,’” he laughs. “I thought it was just small talk.”

Instead, the audition turned into the beginning of a years-long relationship with the musical. At the time, Riddle was still performing in THE PHANTOM OF THE OPERA, rehearsing Titanique during the day before heading uptown for evening performances. “I was having the best time. It was like I was in heaven,” he says. “We were just hanging out with our friends. We were making this thing. It was so scrappy. There were kind of no rules because there weren’t producers breathing down our neck, saying, ‘Here’s what it has to be.’ I’d never felt this amount of freedom with something before.”

That downtown production quickly developed a devoted cult following. Riddle remembers the moment things suddenly shifted. “There were nights when nobody came. We had like 20 people in the audience,” he remembers. “And then all of a sudden something shifted. I just remember one night there was a line down 26th Street outside The Asylum. We were like, ‘What’s going on?’”

Soon, celebrities and theater royalty alike were showing up to experience the chaos firsthand. “Andrew Lloyd Webber was in the audience one night,” Riddle beams. Other performances were taken in by the likes of Bowen Yang and Matt Rogers, who are now part of the producing team for the musical’s Broadway run.

Despite the show’s move to Broadway, Riddle insists the spirit of the production has remained remarkably intact. “It feels like the same show. It’s just in a different space,” he explains. And, having seen the show at both Asylum NYC and the St. James, I can confirm he is absolutely correct. That consistency is one of the most impressive aspects of the Broadway transfer given the size difference between the intimate downtown production and the massive St. James Theatre. 

For those less familiar with the 1997 hit film Titanic, Cal, the role John Riddle embodies 8 times a week is the wealthy fiancé of Rose. Immortalized by Billy Zane on screen, the character is remembered for being exquisitely polished, cold, and controlling. In Titanique, however, Cal becomes something far campier and unexpectedly seductive.

“Billy Zane in this movie entered my DNA in some sort of way because I feel like I’ve played a bunch of characters like this in my life,” Riddle admits. He definitely leans into the “rich asshole” aspects of the character, purposefully approaching the role with a surprising seriousness that actually allows the absurdity to flourish and induce side-splitting guffaws from the audience. “I think the best comedic performances are when these characters believe what they’re saying,” he adds. “[For the characters] this is so real and the stakes of this are so high.”

To fully prepare, Riddle even explored Titanic fan fiction online to deepen his understanding of Cal’s psychology before layering in the musical’s increasingly outrageous jokes. “I read all that stuff and stored all that deep inside and then let that be the undercurrent of all this ridiculous stuff,” he reveals. Still, Titanique’s version of Cal fully embraces theatrical excess. Riddle delights in discussing the character’s sequined costumes, dramatic flair, and unmistakable vanity. “He brought his whole drag getup on the boat,” Riddle jokes. “He’s ready to go.”

One of Riddle’s standout moments comes during Cal’s rendition of Céline Dion’s depp cut “Seduces Me,” which he approaches less as parody and more as a full-fledged villain anthem. “We took all the clowny stuff out because we felt this was the one dramatic moment in the show,” he says. “I sort of treat it like it’s a villain song.” If you haven’t seen it performed, think about Rex Smith’s utterly sultry “Where’s the Girl” from THE SCARLET PIMPERNEL  and you’ll understand what Riddle is saying.

The result of this alluring moment often catches audiences by surprise. “A lot of people who haven’t seen the show say, ‘Whoa, I didn’t think you were gonna sing,’” he points out. “I like when people are rooting for Cal.”

Though audiences frequently assume Titanique relies heavily on improvisation, Riddle says the show is actually far more carefully structured than many realize. “Everything is so specific,” he says. “There are a few things that are improvised, but they’re very carefully crafted and planned every night.”

That includes the show’s infamous moments of audience interaction, many of which revolve around co-creator and star Marla Mindelle. “Marla wouldn’t let us [improvise more] because she says none of us are funny,” Riddle jokes with a big smile.

He also described Mindelle’s backstage habit of “grading” jokes during performances. “She’ll go, ‘Woo,’ when something doesn’t land,” he laughs. “But if you get a thumbs up from Marla, then it’s okay.”

Never fear. Riddle isn’t being bullied by Mindelle backstage. He clarifies that the dynamic is all affection, not intimidation. “I feel privileged to even say their words,” he says of Mindelle and Rousouli’s material.

That humility surfaced repeatedly throughout the conversation, particularly when discussing the show’s recent Tony recognition. Rather than focusing on himself, Riddle continually redirected praise toward the creative team and the community that built Titanique together. “I’ve never felt such pride for my friends like this,” he says with palpable emotion. “This show has meant so much to me, and it’s changed my life in a lot of ways. It has liberated me as a performer.”

And while Titanique lovingly spoofs Titanic while also parodying Céline Dion, Riddle’s affection for the singer is also entirely genuine. He lights up discussing favorite songs like “The Power of Love,” “It’s All Coming Back to Me Now,” and, naturally, “Seduces Me.” He admits, “Céline Dion is so in my DNA that this all sort of makes sense.”