Actors Theatre of Indiana, Carmel Symphony, and Indianapolis Arts Chorale teamed up for a two-night-only performance of the musical “Titanic.” Some thoughts.

— While I heard folks talking about this as a “concert version” of the Maury Yeston/Peter Stone musical, what was presented on stage was actually a full production, albeit one with minimal scenery. Fully costumed and choreographed, it was one of the best-sounding shows I’ve seen in a long time in the Indy area.

— That’s largely thanks to the fullness of the symphony and choir but also to the quality of the sound mix, and the accoustics of the building. Standing ovations are due to Music Director/Conductor Ginger Stoltz, Sound Designer Ben Dobler, Arts Chorale Director Jennifer Kitzmiller, Director Michael Blatt and anyone else who mastered this complex sound mix. Plus, of course, the vocal talents of the cast.

— As I wrote in a column about the pro-shot London production of “Titanic,” the score is unashamedly sincere and aimed high. For me, it generates more tears, empathy and awe than anything James Cameron put on the screen. And a bonus: In this version, nobody selfishly throws away expensive jewelry in the end that could have endowed a hospital.

— By its nature, “Titanic” is not a traditionally structured show. We meet the ship’s designer, its owner, its captain, members of the crew, and passengers from all three classes. It’s a musical whose peaks are very, very high. When it is good, it is very good. And that’s usually when Yeston’s music and lyrics directly connect to character. The epic opening number, the intense “Barrett’s Song,” the aching optimism of “Ladies’ Maid,” and the beautiful duet of “The Proposal/The Night Was Alive” are as moving as just about anything heard on 1990s Broadway. And they are all well-served here.

— Elsewhere, though, the score is padded with what feel like Yeston trunk songs — tunes that could have been airlifted from another show. So while Devan Mathias and Keith Potts as a couple from separate classes elevate their duet, it still feels like filler. (Their song, “I Give You My Hand,” was cut in previews prior to Broadway but restored for subsequent productions.) And as lovely as “Still” is — particularly as performed here by Adam B. Shapiro and Cynthia Collins — it still feels a bit out of place this late in the rushing-to-the-lifeboats second act.

— The aforementioned actors play multiple parts, as do most if not all of the rest of the cast. Among the many standouts: Jacob A. Butler’s knowing Barrett, Scott Grenwell’s loyal Etches, Peter Scharbrough’s tormented Andrews, and Alexandra Imbrosci-Viera’s bold McGowen. Credit also due to the folks backstage assisting in many seemless costume changes.

— P.S. Having seen the original Broadway production and upon hearing “Titanic” again, it seems a theatrical crime that Broadway has only been home to two full Maury Yeston scores. (The other was “Nine.”). Thankfully, regional theaters have benefitted from his “Phantom” — a musical I strongly prefer over the more familiar Broadway one. And I’m sure I’m not the only parent who has gotten weepy over his song “New Words” from his little known “In the Beginning.” You can listen to Mimi Bessett’s version here.