In Titaníque, Layton Williams’ Iceberg Is The Life Of The Party

Most actors dream of making a splash on stage, but no one is doing it right now quite as literally as Layton Williams.

The British performer earned his first Tony nomination this spring for his Broadway debut in Titaníque, the over-the-top musical parody that imagines Céline Dion retelling the story of James Cameron’s 1997 film Titanic using her hit songs as the musical’s score. (Dion is also a passenger on the ill-fated ship — just go with it.) Williams plays several roles throughout the show, including a museum tour guide and a cheekily-named “seaman,” but it’s his scene-stealing turn as the iceberg that regularly brings down the house and netted him a 2025 Olivier Award.

“Even from a young age, I looked to take the art form seriously, but also just play and have fun,” says the 31-year-old actor of his approach to acting. “Especially in Titaníque — we’re making people laugh, we’re bringing so much joy. Like, just don’t take yourself too seriously.”

In the show, Williams is outfitted in a frosted wig, blue lipstick, and sparkly ensemble and launches into a high-kicking, belting, full-throttle performance of “River Deep, Mountain High” (the Ike and Tina Turner song, covered by Dion) that becomes the musical’s showstopper. His subsequent Tony nomination, for Best Featured Actor in a Musical, marks his latest milestone in a career that began when he made his professional debut at age 12 as the titular role in Billy Elliot in the West End.

But even amid the nonstop pace of awards season, he’s still finding time to take it all in. At the annual Tony nominees luncheon last week, sitting among his fellow nominees, “the epicness of it” really hit him.

“I was like, ‘I’m in a room with Harry Potter,’” he said, name-checking Every Brilliant Thing’s Daniel Radcliffe. “What’s going on?”

Ahead of the Tony Awards, Williams spoke with Bustle about post-show self-care, bonding with his Titaníque costars, and the mantra that helps him step out on stage each night as the iceberg.

On getting into iceberg mode:

The great thing is that by the time I get to the Tina Turner-iceberg moment, I’m ready, I’m energized. It’s the perfect warm-up. Honestly, I don’t really get a second to chill because my backstage track doesn’t really stop. It’s like, OK, boom, boom, boom, next thing, next thing, next costume. By the time it gets to Tina, I’m like, “It’s time to shut this sh*t down.”

When I played Angel in Rent [in London in 2016], I used to get quite nervous. It was the first time I’d really done full twirling-singing at the same time, and I just used to take a deep breath and go, ‘I came to slay, bitch.” And once that wig is on, and you’re feeling the fantasy, there’s nothing that can stop you. If you go out there second-guessing yourself, that’s when the demons start to creep in.

On outfitting his dressing room:

There’s a lot of posters and artwork. If someone comes to the show and gives me a card, I’m quite corny, I’ll put their messages on the wall. So there’s a wall full of love in front of me when I get changed.

Because I’m not from here, I was limited with how much stuff I could bring, so I was worried it would be quite bare, but my fabulous friends at Jonathan Adler let me pop into the store and get a few bits. So I’ve got a jewelry box, a little trinket tray, a makeup holder, and these beautiful candles that make the room feel homey. I spend enough hours in here, so it needs to look cute.

On toasting with the cast:

We all get on like a house on fire. At the end of every week, we’ll go to either Jim Parsons’ or Marla Mindelle’s rooms — or sometimes Deborah Cox hosts — and we get the ice out, the wine’s being chilled, and we just enjoy being in each other’s company. It feels like a nice little family — even the superstars, your Deborahs and your Jims, are all so appreciative to be here, because we realize how special it is.

On backstage prep and playlists:

I usually have a nap before the half hour, and then I’ll wake up and have a quick shower to get going. Frankie Grande is usually blasting music, and I share a floor with him, so there’s no point in me trying to put music on to counteract it. Luckily we have very similar tastes, so he’ll be blasting some Madonna or Cher or Ari, and I do my makeup. It’s also my last opportunity to catch up with family and friends, because once we get to showtime, with the time zones, they’re all asleep.

On prioritizing self-care on days off:

What I would like to do [on my day off] is nothing, because by then I’m absolutely exhausted. Unfortunately, there’s just so much going on right now. But I have been going to the Aire Baths — it’s like my sanctuary. I go there in London to relax whenever I can and I didn’t even know there was a New York one. So I’ll do that or go to the gym, have a steam and sauna. Sometimes I’ll get a massage — any R&R vibes to get me back, because [the show] is quite grueling on my body.

On exploring New York:

I’m loving being in New York and living here, not just being a tourist. I’m walking through the streets knowing where I’m going, I don’t need to look at a map, and that is bonkers to me. I have my coffee spot, there’s a diner near me that I go to, and now they’re like, “Hey, the usual?” It’s really nice. You can head to places around the theater, and people ask, “How’s the show going?” It’s like you become a part of the furniture, which is amazing.

On winding down post-show:

After the show I like to chill — even though Frankie’s still blasting his music, which we love. We always have so many visitors coming to see the show, which is gorgeous. So we go down and say hello to everyone. I’ll walk or Citi Bike home and then chill, Netflix, have some food — I’m usually starving because, as you can imagine, I’ve been twirling — and I try to get an early night. I’ve been quite good on this job, just because it’s been awards season. But I’m not opposed to a cheeky nightcap here and there — I don’t mind a little dirty vodka martini. I’m not pretending like I’m always a goody-two-shoes.