“This is, absolutely, a love letter to an epic film which has gone down in cinematic history for many, many reasons – some good, some bad, some just controversial, and some, like aspects of the plot of the film, just confused. Fishbein is not afraid to confront the film’s faults, but does so from a place of such obvious love and warmth that you want to watch her perform the entire three-plus hours of the film so that she can tell you everything about every tiny moment. Epically funny, and brilliantly conceived, this is an iceberg-sized amount of fun for anyone who loved something as a kid, and wants to still love that thing now.”

“Alice is a very confident (very American!) performer and is very at home on the stage expressing and sharing her sheer love and joy of Titanic.

You could argue that the show could be slightly one-dimensional, and perhaps even narrow in appeal, but Alice does make it a lot of fun. Her energy is off the charts! This truly is a one woman tour de force.

This is an entertaining hour of comedy parody performed with such genuine enthusiasm and passion. Alice confidently commands your attention throughout.”

“Leo Still Dies in the End is like a drunken history teacher recounting the Titanic disaster while acting out every role in a one-woman panto. Bonkers, charming, and brimming with affection for its source material — even if, yes, Leo still dies in the end.”

“Alice Fishbein is a force of nature in her self-penned Titanic-themed parody ‘Leo Still Dies in the End’. Portraying each and every character, she switches seamlessly between them all: wavery-voiced old Rose, cocky Jack Dawson, the evil Caledon and Titanic explorer Brock Lovett. In fact we are promised that she is willing to portray each of the 2200 passengers aboard!

A self-professed Titanic obsessive since the age of six, Alice spends the hour poking fun at what, in retrospect, was fairly cringe-worthy dialogue and somewhat unbelievable plot twists in the James Cameron’s 1997 epic (there are indeed reasons why Titanic didn’t get an Oscar nomination for best screenplay…). Her analysis is sharp but funny, and in typical New Yorker style she’s direct, witty, and doesn’t pull her punches.”