In Romania, he was a TV star, appearing in his own hit TV sitcom La Bloc for seven years and more than 700 episodes.
This coming weekend, he will be starring in his almost two-hour show All Aboard! at the Leicester Square Theatre in London.
JOHN: You have been in the UK for almost a year now…
DRAGOS: Yes. I came to London because – first – the language. And second because – no matter what your field of work – if your performance is good, then they will accept you here. Britain – especially London – is already a mix of cultures. I like it. I have decided to move here for good, with my wife and kids, maybe next year – my son and twin daughters – non-identical. One is blonde; one is brown-haired.
JOHN: The Leicester Square Theatre event on Saturday is a one-man show?
JOHN: Why do you bill yourself as Titus and not Dragos?
DRAGOS: Titus is my middle name and I think, when British people see a poster, Titus is easier to pronounce and keep in mind and Dragos is more East European so I think is not so appropriate whether or not Brexit happens.
JOHN: I can’t think of any big-name Romanian musical comedians in Britain. So I guess that’s your Unique Selling Proposition.
TITUS: I would try to put being Romanian to one side. I doubt that being Romanian is a selling point.
JOHN: Well, it makes you stand out from the opposition.
TITUS: I am not really trying to compete with very well-known and very talented stand-up comedians in the UK. I do not do stand-up comedy. What I do is more of a one-man show where music is involved and live piano and non-verbal moments. Like a pantomime, more-or-less. Musical comedy and non-verbal.
JOHN: So your act can appeal to anyone…
TITUS: Yes, this is why I keep everything on the stage to general topics – family, kids, money, iPhones or technical things which have taken over our lives lately. I speak about Count Dracula, who is an international icon.
JOHN: And you do some songs as Elton John, who is known internationally.
TITUS: I won’t be doing Elton John on Saturday. Well, maybe as an encore. But I am trying to show people how I can combine music and comedy more generally. If I am only known for doing Elton John, I will never make a name for myself properly. Elvis Presley impersonators only get known as Elvis Presley impersonators; people do not even remember the name of the performer.
JOHN: Your Leicester Square Theatre show is an attempt to get seen by influential people.
TITUS: Yes. My next step has to be to try to get an agent, which would ease things for me. You cannot thrive by yourself.
JOHN: I heard about one agent who said they would not represent a 26-year-old performer because she was too old. Agents tend to want young, inexperienced people so they can mould them and take credit for their success.
TITUS: Being older than 26 has its downsides and upsides. My 20 years of television and performance experience means I don’t need to build up my performance or act in the same way a 26 year-old has to.
JOHN: Do you own La Bloc, the Romanian TV sitcom?
TITUS: Yes. I was not only the producer and an actor in it, but I created it. I created it from a blank page to what it became. It ran daily Monday-Thursday for roughly seven months a year over seven years – over 700 episodes.
JOHN: That’s a lot of sevens and a lot of plot lines.
TITUS: Yes. I developed a team of about ten writers.
JOHN: Not seven?
JOHN: How does British comedy differ from Romanian comedy?
TITUS: What we do not have in the Balkans so intensely or so consistently is one-liners. Here in the UK there are a lot of one-liner comedians: punchline after punchline after punchline. Short jokes one after the other.
JOHN: At the Edinburgh Fringe, the successful shows in the last ten years or more have tended to be story-based. The comics have to fill an hour and that is very difficult with just gags, unless you are Jimmy Carr or Milton Jones or Tim Vine.
TITUS: Yes. I went up to Edinburgh this year to see shows and there were several shows like this. They were doing a type of storytelling where you do not necessarily have to laugh every two or three minutes. They build you up a little bit, then there is a good section of laughs and they end with an idea.
JOHN: And they love a bit of autobiographical tragedy in comedy shows at the Fringe. There is the ‘dead dad’ moment…
TITUS: Dead dad moment?
JOHN: The audience tends to lose concentration after about 40 minutes, so you suddenly throw in some unexpected tragedy like your father died of cancer – it has to be true – and the audience is grabbed by the throat and pay attention again. Their emotions fall off a cliff and then you build them up again to an uplifting, happy ending.
TITUS: Yes. Comedy equals Truth plus Pain.
JOHN: Truth plus Time?
TITUS: Truth plus Pain. What is Pain? It’s Truth and, if you can extract comedy from this, that is genuine, pristine comedy.
JOHN: I suppose the classic cliché comedy gag is someone slipping on a banana skin although, in the real world, that is not funny; it’s tragedy. So you are laughing at someone else’s troubles, from relief they are not yours.
TITUS: Exactly. In Henri Bergson’s book Laughter, he breaks the mechanism down to the basics and he explains how and why people laugh. He states there that punishment or accidents apply on human subjects and…
JOHN: I guess one reason why people laugh is the unexpected. A release of tension. Even if it is tragic, like slipping on a banana skin, they will laugh because it is unexpected. People laugh at one-liners for the same reason: because the punchline is unexpected.
JOHN: And it does always tend to be better with three. Two or four don’t work. It’s all in the…
JOHN: That is universal. But if, in Romania, there was no tradition of punchline-punchline-punchline comedy, what was.… In Italy, they had Commedia dell’arte… What was the tradition in Romania or the Balkans in general? Storytelling?
TITUS: More-or-less, yes. Monologues. Not necessarily told from your own perspective, which British and American stand-up routines are. In our monologues, you can talk about something that happened to another guy or it can be pure imagination and fiction.
JOHN: We had that sort of tradition in the Victorian and Edwardian music halls and in the 1930s – Stanley Holloway and others. There are storytelling nights cropping up in London now – Spark, Natural Born Storytellers and others. Have you seen any of those?
TITUS: No. But this is what I do in my show. A sort of storytelling. I come up with a kind of a theme, make a statement, a premise, build it up a little bit, then turn to music.