cruise play review 2022

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Cruise review – a stunning return to lost gay London

Duchess theatre, London Jack Holden delivers a powerhouse one-man show about the hedonism, joy and tragedy of the 80s scene

J oyful, painful and wholeheartedly life-grabbing, Cruise is an ode to the gay men who lived, loved and were lost during the Aids crisis. Written and performed by Jack Holden (War Horse), this one-man show is inspired by a story he heard while volunteering for the LGBT+ listening service Switchboard . Stunningly funny and utterly charming, Holden is enchanting. He fills the stage to the point where you forget he’s acting alone.

Holden plays himself as an uncertain 22-year-old on a shift at Switchboard. He picks up the phone to Michael, a charismatic middle-aged man who, at Holden’s age, was living a hedonistic life in 80s London. On the wonderfully grimy, metal set, Holden revives Michael’s story, with Jai Morjaria ’s lighting cutting neon strobes through the soft glow of the city streets.

We’re taken from the moment Michael stumbles into a year’s rent for the price of a single drink, to a tragic love story at the end of the world. On stage with Holden, The Little Unsaid ’s John Elliott plays an electronic score that pulses softly throughout, beautifully building each scene with angelic, breathy synths as we go from phone line to nightclub to funeral and back.

Holden’s clean, thoroughly researched script contains a gorgeous appreciation of London’s queer history, as we traipse through the city’s historic gay bars. Bronagh Lagan ’s direction is smooth and playful, as Michael roams through an eclectic cast of characters – each one performed with crisp clarity and dazzling humour. The more we meet, the more we lose to the growing Aids crisis, as Michael describes men shrinking and disappearing around him.

The weight of Cruise hits so strongly in part because of its sublime joy, vividly depicting the hedonistic pleasures, the thrill of dance and the strength of the queer community. Holden, who turned 30 last year, acknowledges the ignorance and innocence his youth provides and how lucky he is to age when so many didn’t get the chance. Through it all – the parties, the deaths, the love, the sex – the world Holden builds has an unwavering sense of respect for a lost generation of gay men.

At the Duchess theatre, London , until 13 June.

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Cruise at the Apollo Theatre review: Jack Holden’s ode to 80s queer culture is a one-man masterpiece

Following a sold out run in 2021 as one of the first plays to open after the pandemic , writer and performer Jack Holden’s Olivier -nominated one-man show is back and it’s bigger, brighter and bolder than ever before.

Based on a phone call Holden received while working at LGBTQ+ charity Switchboard, the play is woven out of the caller Michael Spencer’s memories of his time as a young man embarking on a journey of self discovery and sexual awakening in 1980’s Soho.

Holden, whose acting credits include War Horse and Ink, skillfully evokes the hidden underworld of London’s (second?) most notorious square mile - cocktails of drugs, illicit encounters in dubious locations and hedonistic partying - while simultaneously drawing an evocative picture of the powerful reality of a marginalised community, both terrified and stoic in the face of an unspoken crisis.

Diagnosed as HIV positive and given only four years to live, Michael and his partner, “Slutty Dave”, are determined to make the most of their time left together, so they sell their flat and spend what little they have on enjoying themselves to the full. Fast forward to 1988, it’s Michael’s final night on earth and he plans to have one last hurrah.

We join him as he parties the night away, saying his goodbyes to an eclectic mix of characters with their own share of joy and tragedy: a burly, jaded drag queen ‘unfamiliar with a bic’, a cuban heeled, maroon suited fountain of wisdom, a larger-than-life barmaid and ‘Fingers’, a steadfast colleague and fellow HIV patient, all brought to life in a masterful display of physical and linguistic shapeshifting from Holden. Then, in the morning, Michael awakes to find himself very much alive. Confused, and divested of his worldly possessions, he must now work out what to do next.

Holden’s performance, directed by Bronagh Lagan, is captivating - whether he’s switching between accents, channelling his inner diva for a hysterical rendition of Peggy Lee’s Is That All There Is, or dancing what he believes to be his last dance, he will have you laughing and crying in equal measure.

The poetic script, which runs the gamut from comedic accounts of the salacious goings on in the back streets of Soho to a gut-wrenching list of men who were lost to the AIDS epidemic, takes you on an emotional rollercoaster without ever once losing its hold on your attention.

Providing the soundtrack and bringing London’s 80’s dance floors to life is composer, music producer and songwriter John Patrick Elliott. Simultaneously mixing tracks, singing and playing instruments, he creates an evolving electropop soundscape that captures the musical vibe of a decade which, alongside Prema Mehta’s clever use of lighting and juxtaposition of tense bright glares with adrenaline filled strobes, perfectly amplifies the action.

The result of extensive research, Cruise provides an authentic, if whirlwind, tour of a decade of British queer history. From its infamous pubs, pulsating nightclubs (Heaven still remains an iconic part of the city’s thriving LGBTQ nightlife), and seedy backstreets, Holden takes us on a journey that is as heart-wrenching as it is heart-warming. Both a sobering reminder of those who lost their lives to HIV as well as a celebration of a community determined to battle on in the face of adversity, Cruise is not just a play, it is a slice of history.

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Review: Cruise, Apollo Theatre

Author: Gabriel Wilding in Drama , Reviews , West End 19 August 2022 0 1,668 Views

Unmissable!

Golden leaves snaked around his victorious head, Jack Holden’s creative tour de force Cruise returns to the West End. Perfectly timed, searingly funny, and geographically fitting: what more could you want?

Jack Holden , an already lauded actor has decided that the world of writing deserves some of his singular attention (leave something for the rest of us please?). Having starred on Amazon Prime’s Ten Percent and played the lead in War Horse he just thought he would simply write his own West End debut and star in it. How irritating.

But luminous jealousy aside, this Olivier-nominated piece was the first new play to open on the West End during lockdown. Premiering at the Duchess Theatre, it now returns bigger, better, and brighter to the Apollo . Drag royalty, or at least aristocracy (Victoria Scone, River Medway, and Vinegar Strokes) pack into the crowded grandeur of the theatre, the gay-litterati fan themselves in the heat, waiting, waiting…

Drawing from his experiences working at the LGBT+ switchboard, Holden pulls together a range of tales, memories, and fantasy, then encases them in Nik Corrall ‘s steel jungle gym of a set. We meet Jack, a naive gay man of the 21st century with a drive to help but plenty of self-hatred, and not much knowledge of queer history. Recovering from a messy night, he picks up a call at the switchboard; only for his life to change forever.

We are thrown into the world of Michael, and 1980s Soho. Holden’s chameleonic talent shows us the personalities that populate a world different but familiar to the square mile of today. Spherical drag queens, old pantomime dames, DJs, and relics of an even older gay world. We explore this refuge in all its glittering glory and heartrending tragedy.

The writing is poetic, veering into spoken word style monologues and then back into relative realism. Holden’s morphing (if slightly pared back) physicality embodies those met on Michael’s last night on Earth. The play is long for a one-hander, but theatrical magic is deployed by Bronagh Lagan ’s directorial style to keep you engaged.

John Patrick Elliot is onstage throughout, high stage left in a sound booth. In a story about the 80s, he has composed a tight musical backdrop, conjuring up the era, then DJing and playing multiple instruments live. Chicago House and Techno blend like strands of memories, the sounds warping in and out.

Equally, Prema Mehta ’s lights and limited projection use keep the action pumping and the many-levelled space feeling new. We get a wide scope of locations, from the cavernous Heaven to the tiny smoke-filled Colonnade Club; from public loos to the switchboard, all with a mix of spots and coloured washes.

As a fellow Soho-ite and gay man I hoped this piece would speak to me and to be quite honest, I cried twice. A world of belonging, sexual freedom, and protection from the cold drab 1980s Britain is seamlessly constructed. The eventual arrival of HIV is then utterly devastating. The play was written during our most recent pandemic and now restaged as a potential third disease (again disproportionately affecting the queer world) is looming, making this piece feel laser point focused.

The world lost a generation of gay men, and creative work like this along with TV shows like It’s a Sin bear witness to that massacre. In the 80’s the mainstream media, and (parts) of the theatre industry turned away in revulsion from the cries of the community. The fact that two major West End theatres now support such a show about the AIDS crisis – in the middle of the very place most affected – is uplifting and proof of how far we’ve come. Holden and his outstanding team have crafted a story that finds joy, humanity, and life set in such a time of darkness, and as I dry my tear-stained cheeks I thank them from the very bottom of my heart.

Written by:  Jack Holden Directed by: Bronagh Lagan Produced by: Aria Entertainment, Playing Field, Peak Productions Ltd

Cruise plays at Apollo Theatre until 4 September. Further information and bookings can be found here .

Tagged with: Apollo Theatre Aria Entertainment Bronagh Lagan Cruise Jack Holden John Patrick Elliot Nic Corrall Peak Productions Playing Field Prema Mehta Slider

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Cruise at Apollo Theatre

13 th August - 4 th September 2022

As the audience files out of the Apollo Theatre, the sense of awe and marvel at what they have just seen is palpable. This reinforces the entirely justified swathe of five-star praise for Cruise ‘s previous run at the Duchess Theatre. The play is, undeniably, a dramatically stunning show and, most importantly, writer and performer Jack Holden has created a compassionate tribute to a seminal decade in London and British queer history: the 80s.

The play semi-autobiographically begins at Switchboard, the LGBTQ+ helpline founded in 1974, with Holden struggling to navigate the emotionally-demanding aspects of his volunteer role. When he receives a call from Michael Spencer, theatregoers are transported on a historical journey that charts the rise of the queer scene in London, and Spencer’s journey from naïve teen to grieving partner during the development of the AIDS crisis.

On that (at times, disappointingly) whistlestop journey, Holden skillfully and vividly portrays all of the colourful characters Spencer encounters on his journey, from hirsute drag queens to debonair Polari-speaking socialites. The glowing strength of Holden’s – and, indeed, director Bronagh Logan’s – skill lies in the sensitivity which underpins each characterisation. At no point is any character reduced to being merely functional: as should be the case in mainstream society outside the theatre doors, each individual is treated as a human should.

In addition, Prema Mehta’s multi-sourced lighting design and Nik Corrall’s multi-functional earthy and industrial-looking set are beautifully interwoven into Holden’s narrative to allow one to easily traverse the various locations Spencer recalls through his phonecall. 

The performance is especially masterful on a sound level, too, to the extent that Cruise should be praised as a two-person play: c omposer and musician John Patrick Elliott may not play a character, but his score is as essential to the success of the play as Holden’s sensitively deft multi-rolling. The instrumentation and genre of the score evolve from the country-pop of Patsy Kline to Chicago house, but it never loses its effortlessly contrapuntal capability to emphasise each separate dramatic moment.

Pacing issues aside, Cruise is undoubtedly a reaffirmation that theatre is the perfect mode of story-telling. The stories of Spencer and other queer characters are ones that, as the deserved standing ovation attests, have the right to be rapturously received by thousands. Do not wait for the feature film of the show that is currently in development – witness it now in all its theatrical glory.

Francis Nash Photos: Pamela Raith

Cruise is at Apollo Theatre from 13 th August until 4 th September 2022. For further information or to book visit the theatre’s website here .

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Cruise at the Apollo Theatre, London

August 18, 2022 Last updated: August 18, 2022 8:07 pm By Terry Eastham

How would you spend your last night on earth? If you knew the time and date of your departure from this world, what would you do as the hour approached? You could sit at home and contemplate life or maybe spend an evening with loved ones. Alternatively, you could spend your last night celebrating the life you have led and the one you will be missing out on. If this is your option, then you will be just like Michael, the main character in Cruise which has returned to London for a limited run at the Apollo Theatre.

22-year-old Jack (Jack Holden) has decided to give something back to the community. As a young gay man, enjoying all that London has to offer, Jack volunteers to work for Switchboard , an LGBT+ phoneline and advice service. After completing his training, Jack is ready to fly on the phones. One Saturday morning, Jack arrives for his shift slightly the worse for wear. He was, as the saying goes, having it large the night before. He hasn’t slept, is possibly still a bit drunk and definitely has some illegal substances running through his body. Still, it’s not too bad, as there are two volunteers on the rota this morning. Whilst the other is middle-aged and to Jack’s young mind, a bit of a pervy guy, at least there’ll be something there to help him. But, as the first call comes in, Jack is on his own and dealing with something very unexpected. As the phone rings, Jack picks it up and a man called Michael is on the other end. Middle-aged Michael is initially a bit reluctant to talk to someone so young – echoing some of Jack’s own insecurities – but eventually responds to Jack and tells the young lad his story, from his first days as a young lad arriving in 1980s Soho, until February 29th, 1988, the greatest night of his life. For this was the day he had been told he would die of the ‘gay plague’ with which he had been diagnosed in 1984. This is no ordinary story, and, as Jack listens intently, he changes as a person forever.

Cruise first opened in May 2021 and the reviews at the time did not hold back on praising the show. Positive descriptors, along with 4 and 5-star summaries were thrown about like confetti, with Olivier nominations following hot on the heels of everything else. I did see it on that first run and was totally blown away by every aspect of the show. I’m unbelievably pleased to say that 15 months on, Cruise is still as fantastic as it was the first time I saw it.

So much of the success of the show is down to the skill of Jack Holden who not only performs the show but also wrote it. Jack manages to paint a picture of 1980s Soho and the characters living there with such clarity and detail, you feel that you are really there, revelling in that period from decriminalisation and into the onset of the AIDS epidemic, and its devastating aftermath for the gay community. Considering the potential for Cruise to be a very heavy, downbeat play, it is surprisingly funny, lively, and totally compelling.

Cruise is a one-man show but Jack fills the stage with highly individual and identifiable people. From the main protagonist Michael through to my own personal favourite Polari Gerald, via a tired and cynical RVT drag queen, a sympathetic barmaid and a music producer who becomes a god-like figure behind the decks at Heaven. Each one is there for you the audience to meet and appreciate. I personally believe that Holden could perform the play on an empty stage with no lights, music, etc, and it would still be an amazing show.

Luckily, he doesn’t have to do it and has music composer and sound designer John Patrick Elliott on stage, which along with Nik Corrall’s evocative set and costume are used by Director Bronagh Lagan to add an extra level of realism to the story.

To sum up. My companion Lynne told me as we left the theatre that I had to give Cruise five stars and, while she isn’t always right, this time I totally agree with her. I honestly cannot state how much Cruise blew me away and I don’t think there are enough superlatives to express my thoughts on it. Cruise is at the Apollo until September 4th – proving that there is still awesome theatre in London during August (who needs Edinburgh?) – and believe me, this is one show where you will definitely be kicking yourself if you fail to bag yourself a ticket before it goes.

Review by Terry Eastham

CRUISE is the true story of what should have been Michael Spencer’s last night on Earth.

When Michael is diagnosed with HIV in 1984, he’s told he’ll have four years to live. So, with the clock ticking, he and his partner, Dave, decide to sell their house, flog the car, spend everything they have and party like it’s the last days of Rome.

On the last night of his four year countdown – the 29th February, 1988 – Michael decides to go out with a bang. He puts on his favourite jacket, heads for Soho, and embarks on a long night of farewells. He dances, sings, and says yes to everything and everyone. Then, with all his affairs taken care of, Michael promptly… survives.

Cruise Apollo Theatre, London Booking to 4th September 2021

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About This Show

Cruise ~ February 29th, 1988. Soho, London.

Recently nominated for the 2022 Oliver award for Best New Play and following rave reviews, the theatre show CRUISE returns to London’s West End for a strictly limited run from 13 August to 4th September 2022.

The “stunning, joyful and wholeheartedly life-grabbing” (The Guardian), CRUISE The Play is the true story of what should have been Michael Spencer’s last night on earth, performing live for a strictly limited season at the Apollo Theatre, must end 4th September. Following the phenomenal success of its maiden voyage at the Duchess Theatre in 2021, CRUISE returns to the West End to dazzle audiences once again.

When he’s diagnosed with HIV in 1984, Michael is told he’ll have four years to live – at most. So, with the clock ticking, he and his partner Dave decide to sell their house, flog the car, and spend everything they have to party like it’s the last days of Rome. When Dave dies two years later, Michael doubles down on his hedonistic ways, spending what little he has on drink and drugs.

On the last night of his four-year countdown – the 29th February, 1988 – Michael decides to go out with a bang. He puts on his favourite jacket, heads for Soho, and embarks on a long night of farewells. He says his goodbyes, dances, sings, and says yes to everything and everyone. Then, with all his affairs taken care of, Michael promptly… survives.

Michael got lucky. He’s been given the gift of life; but what kind of life can he now live?

Written and performed by Jack Holden (War Horse, Ink) with “vast charm, empathy and energy” (Evening Standard), CRUISE is a celebration of queer culture; a kaleidoscopic musical and spoken word tribute to the veterans of the AIDs crisis; an urgent piece of theatre, with an irresistible 80s soundtrack, which will make you laugh, make you cry, and which inspires us all to live every day as if it’s our last.

The show is directed “with inventive control” (WhatsOnStage) by Bronagh Lagan and features a “pulse-quickening, period-pastiche electro soundtrack” (The Telegraph) performed live by John Elliott. CRUISE plays at the Apollo Theatre in Shaftesbury Avenue, London, from 13 August to 4 September 2022.

Show Details

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About the show

February 29th, 1988, Soho

“A one-man masterpiece” (Evening Standard)

Nominated for the 2022 Olivier Award for Best New Play, Cruise is now playing its’ final shows in London’s West End and must end on 4th September.

Performed and created by Jack Holden, Cruise is “an emotional rollercoaster without ever once losing its hold on your attention” (Evening Standard), featuring a “pulse-quickening, period-pastiche electro soundtrack” (The Telegraph) performed live by John Patrick Elliott.

Cruise is the true story of what should have been Michael Spencer’s last night on Earth. When he’s diagnosed with HIV in 1984, Michael is told he’ll have four years to live. So, with the clock ticking, he and his partner Dave decide to sell their house, flog the car, and spend everything they have to party like it’s the last days of Rome.

Cruise is “The most breath-taking piece of theatre in 2022” (Harriet Thorpe)”

Book now – final weeks – only until 4th September at the Apollo Theatre.

The Apollo Theatre operates with mitigation methods to help reduce the spread of COVID-19. For further information check our  COVID-19 secure information page . If you or anyone in your party tests positive for COVID-19 we recommend you stay at home; we operate a 100% exchange guarantee up to 48 hours before your performance. Please contact  [email protected]  and they will assist.

Booking Info

Show Times Tuesday - Saturday, 8pm Saturday & Sunday, 4pm Sunday, 7pm Please note: Friday 2 September, 5.30pm & 8pm Sunday 4 September, 4pm

Ticket Pricing

Prices include a £1.50 restoration levy

Running Time

Age recommendation.

This production contains Adult Themes including references to Self-Harm.

Flashing lights, strobing effect, smoke and haze are used in this production.

Book Tickets

'Life affirming and as searingly honest as It’s A Sin.'

The telegraph, 'a tour de force, the toast of the town.', 'stunningly funny, joyful and wholeheartedly life-grabbing. holden is enchanting', the guardian, 'cruise achieves so much it’s tricky to decide which standout feature to rave about first.', 'epic in form, this piece is deserving of being a sell-out hit.', broadway world, sign up for our newsletter.

Cruise 2022 (c) Pamela Raith Photography

Play Trailer

February 29th, 1988. Soho, London.

Following rave reviews, the 2022 Olivier Nominated Cruise returns to the West End for a strictly limited run.

CRUISE is the true story of what should have been Michael Spencer’s last night on Earth. When Michael is diagnosed with HIV in 1984, he’s told he’ll have four years to live. So, with the clock ticking, he and his partner, Dave, decide to sell their house, flog the car, spend everything they have and party like it’s the last days of Rome.

On the last night of his four year countdown – the 29th February, 1988 – Michael decides to go out with a bang. He puts on his favourite jacket, heads for Soho, and embarks on a long night of farewells. He dances, sings, and says yes to everything and everyone. Then, with all his affairs taken care of, Michael promptly… survives.

Based on a true story and centred on one night in Soho, CRUISE is a celebration of queer culture; a kaleidoscopic musical and spoken word tribute to the veterans of the AIDs crisis; an urgent piece of theatre, with an irresistible 80s soundtrack, which will make you laugh, cry, and which inspires us all to live every day as if it’s our last.

Writer & Performer - Jack Holden

Director - Bronagh Lagan

Set & Costume Designer - Nik Corrall

Set & Projections Designer - Stufish Entertainment Architects

Lighting Designer - Prema Mehta

Co-sound Designer - Max Pappenheim

Movement Director - Sarah Golding

General Manager & Assistant Producer - Chris Matanlé for Aria Entertainment

Producer - Lambert Jackson

Producer - Aria Entertainment

Advisory Content

Contains adult themes

Age Suitability For This Show

Unlike film, theatre doesn't have an official age classification organisation. That means all age recommendations are subjective and should be treated as guidelines unless otherwise stated. With this in mind, we ask you to use your judgement in regards to a show’s suitability prior to purchase. However, we are more than happy to help you make a decision. Please email our Customer Care team to find out more about your chosen show.

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New production images for the world premiere of Cruise and Zog, the smash-hit stage adaptation from Freckle Productions flys into… Read More

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Mj the musical, get more from your ticket, stk steakhouse – free welcome drink, q-park – 50% off.

Unlike film, theatre doesn't have an official age classification organisation. That means all age recommendations are subjective and should be treated as guidelines unless otherwise stated. With this in mind, we ask you to use your judgement in regards to a show’s suitability prior to purchase. However, we are more than happy to help you make a decision. Please email [email protected] to find out more about your chosen show.

Official London Theatre New Year Sale With our annual Sale, you can get £10, £20, £30, £40 and £50 tickets to many of London’s biggest shows for performances from 1 January to 29 February 2024. Plus, there are no hidden costs so the price you see is the price you pay.

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Jack Holden’s Olivier Award-nominated one-man play, paying tribute to those who lived through the AIDS crisis, returns to London.

A vibrant tribute to the LGBTQ community

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Review: Cruise to the Edge returns with 5 days of diverse progressive rock!

Recap of Cruise to the Edge 2022 which sailed May 2nd-May 7th out of Port Canaveral, FL

by Prog Nick pics by Joel Barrios, Iron Mike Savoia, Joe Schaeffer, Austin Kokel, Roie Avin

As the welcome document says, you cruise on a ship, not a boat. That word ‘ship’ describes more than just a floating vessel, however. It embraces kinship, fellowship, and indeed, musicianship of the highest order. Without a doubt Prog’s premier oceanic event, Cruise to the Edge has consistently delivered the best live Progressive Rock experience on the high seas. Now back, after a 3-year delay, 2022 would be no exception. Sailing from May 2nd to May 7th, the host vessel, Mariner of the Seas, became a haven of heavenly Prog and the type of camaraderie that only those in the world of Progressive Rock can offer. This is one passenger’s account of this epic event.

The cruise got its official start at the pre-cruise party the night before at the hotel where most of the passengers and bands stayed. Piano players Tyson and Will kicked things off with a unique mix of covers, followed by a brilliant set from Alan Hewitt & One Nation, which led to an electric set of prog classics from the super group ProgJect. It was a great night to get everyone amped up for the cruise.

Check-in was made much easier this year, with the introduction of an online cruise app. Once safely on board, I was lucky enough to witness the festivities begin. Though scheduled to have given a ‘Sail-away’ performance at 4.30pm, Wishbone Ash had to be re-scheduled for later in the cruise and were replaced with Alan Hewitt & One Nation for their lone cruise performance, and they gave another stellar performance in place of the Ash.

One of the usual things to happen on the cruise is the frequent shifting of schedules. In many cases, it is a matter of some shows starting late or running long. And on the first day, this can certainly be even more so. Such was the case for the shows in the main theater where McStine and Minnemann were scheduled to kick off at 2pm in the afternoon but ended up finally playing at 6pm. So, instead I went to catch Marbin in Studio B (a converted ice rink) at 2:30. After the enthusiastic MC had kicked matters off, an hour of great instrumental jazz-rock unfolded.

Our own Roie Avin, one of the ship’s MC’s, later introduced McStine and Minnemann, this time featuring two of the mightiest drummers on the planet in Marco Minnemann and Nick D’Virgilio. The gig may have started several hours late, but everyone was nonetheless in good spirits. With Zappa-esque stylings and an unbelievable scat number from bassist Mohini Dey, things were by now off to a great start.

Transatlantic’s first show was delayed as well, but well worth the wait. It was an energetic set of some of the most beloved catalogue in Prog. Drumsticks were thrown by Portnoy to Leonard, stage antics abounded and all the classics (at least as parts of medleys) were played. I was seated alongside several members of The Flower Kings, who were clearly proud of their compatriot’s efforts. Cell-phone torches were raised by hundreds of hands during ‘We All Need Some Light’ and it became clear that any band wishing to better this performance by the co-headliners, would have to pull out some miracles. Just as this show was ending, French proggers Klone took the pool stage by storm and captivated a new audience to their heavy melodic sound.

In many cases, difficult decisions must be made as to which band to go see. Knowing you might have a second chance at a band, allows you at times to choose one over the other. In this case, it was on to veteran guitarist Martin Barre, whom I chose over Pain of Salvation in honor of the fact that this was the year of the 50th anniversary of ‘Thick as a Brick.’ Though the set was mostly from other albums, Barre did not disappoint. He delivered a pleasing selection of favorites from ‘Hunting Girl’ to a morsel of ‘Thick as a Brick’ and then, of course, the whole of Aqualung ending with ‘Locomotive Breath.’ Martin Barre’s bassist, Allan Thomson, ended up filling in for Wishbone Ash.

One of the largest pro-am musical adventures in the world (certainly in the world of Prog), Late Night Live is a great and long-standing addition to Cruise to the Edge, which allows cruisers from all over the world to get together and perform classic prog tunes at late nights on the ship. There is nothing quite like getting up in front of your peers (and sometimes your heroes) to perform the music you love. Later that day, I was taken by surprise by the Late Nite Live family, led famously by the always exuberant host Rob Rutz, who welcomed me back with typical warmth and love and asked me to play a Marillion song unrehearsed (as is the way at this event) that very night. With music ringing in my ears at every turn, my cabin beckoned for the first night. The accommodations on the Mariner of the Seas were excellent, and the cleanliness and service in the cabins were well above average.

Day two did not suffer anywhere near as many logistical issues as those of day one. Playing CTTE for the first time, The Flower Kings were scheduled to play both their sets in the converted ice rink dubbed ‘Studio B.’ The first one, scheduled for 1pm on day two, was packed to its icy rafters. Hasse Froberg’s vocals were as angelic as ever and Roine Stolt explained that his own voice had gone overboard, whereafter Froberg stepped in and took over many of Stolt’s vocal parts. They closed with the final section of the glorious ‘Stardust We Are.’ As Stolt said to the crowd, ‘At least you heard a different version of TFK tonight.’ Different or not, it was excellent.

Dave Kerzner & the All Star Prog Band were beyond impressive on the pool stage. This was a fantastic moment, partially because I could watch the great Nick D’Virgilio from the upper deck, right behind his left shoulder, joined as well by the talented Billy Sherwood, Randy McStine, Matt Dorsey, and Durga McBroom. These virtuosos played some Sound of Contact numbers, much to the crowd’s delight, including the brilliant ‘Not Coming Down.’ Continuing the theme of several artists playing in multiple bands, Kerzner would join Durga and her sister Lorelai for a couple of sets with the McBroom Sisters who equally wowed audiences with their powerhouse vocals.

I briefly attended a Simon Phillips Q&A on the way to Pattern-Seeking Animals in the Star Lounge. This was only P-SA’s second show ever, but you would not have known it. They pulled out all the long songs and dazzled the audience with much technical wizardry. There is a tradition of sharp wit and good humor in Prog, and Ted Leonard’s wit is as sharp as his voice. If you came early you might have heard a nice bit of “Carry On Wayward Son” at the band’s soundcheck.

I got to the Royal Theatre to see Marillion just in time for ‘The Crow and the Nightingale,’ my favorite song off the new album. The band had to re-start ‘Sierra Leone’ – the type of thing that brings their fiercely loyal crowd all that much closer. With this band, it is all about bonding and connection. ‘Maintenance Drugs’ from the ‘Care’ suite was a highlight, with Pete Trewavas providing one of the funkiest bass-lines heard on the ship.

Fernando Perdomo formed an excellent band especially for the cruise, appropriately dubbed ‘Fernando Perdomo and the Out to Sea Band.’ Featuring multi-instrumentalist Dave Bainbridge, the band pleased many passengers by unexpectedly playing one of Bainbridge’s new solo numbers.

Up next, the mouth-watering prospect of Riverside on the pool stage. Although it was very windy, nothing stopped the crowd from filling the covered pool area for this upbeat set. The band played a great selection of songs including some from ‘Shrine of New Generation Slaves.’ At one point they broke into Deep Purple’s ‘Black Night’ with the crowd yelling ‘Hey!’ in all the appropriate places. Four gentlemen with t-shirts with large letters spelling ‘Riverside’ were acknowledged from the stage. The utterly dedicated crowd refused to be forced inside by the gale-force wind, and their fortitude allowed them to witness a triumphant set from Poland’s best.

I managed to catch a few minutes of the ever-amazing Adrian Belew Trio, introduced by veteran CTTE host Jon Kirkman in Studio B. We were all happy to be Belew’s ‘flesh baffles’ for that show. The band were all dressed in holiday shirts, and the coolest bassist on the ship was undoubtedly Julie Slick.

I rushed to the Royal Theater to watch Al Di Meola, and passed the ‘Cape Night’ competition on the way. (The cruise was filled with such events.) This was the first time I had seen Di Meola and am very glad that I made the effort to make it to see one of Rock’s true guitar heroes. He amazed the crowd with his ineffable panache and talent. Playing mostly flamenco acoustic guitar, accompanied by a percussionist, it was magical. Regaling the audience with stories about Chick Corea (or ‘Chuck Corea’ as Di Meola’s father apparently called him), it was as much a storytelling night as it was a musical concert. Corea’s ‘Senor Mouse’ was, of course, played acoustically.

Having previously played in the 2014 Cruise with UK, Alex Machacek (and his band ‘Fat’) played a great jazz-rock set to a relatively small crowd. He called it ‘Disco- prog’ but the set was in fact quite jazzy. McStine and Minnemann had impressed me so much in their first show that I went back to see them a second time on the pool stage, undeterred by the hurricane-like wind. I was again (quite literally) blown away. Minnemann lost a stick at one point and did not have a spare handy until the next song. You would never have known it, because his one hand is as quick as most other drummers’ four limbs combined. Minnemann’s cymbals nearly blew over and Mohini Dey’s guitar stand did, but the crowd remained.

As happens on this cruise, the day was also filled with many special off-stage moments like Nick D’Virgilio using cutlery as drumsticks to help Marbin jam in one of the restaurants. Later that night, closing out Studio B with a powerful set, District 97 were joined by Mike Portnoy and played Alanis Morisette’s ‘You Oughta Know’ in honor of Taylor Hawkins, which vocalist Leslie Hunt sang brilliantly. Late Nite Live closed out the day with a competent night-long tribute of Rush covers in honor of the great Neil Peart, which included an air-drumming competition set to YYZ.

Day 3 was a port stop. Labadee is a tiny but gorgeous Haitian island, at which the ship docked on 4 May. While it does not have much more to offer than crystal clear waters and powder sand beaches, these two features proved more than adequate for cruisers wishing to rest their senses in anticipation of the remainder of the cruise. Just what the Prog doctor ordered.

I was back on the ship in time for the Transatlantic Q&A which had just been moved to later that day. Singer Al Stewart benefitted from this change, and while his set was not Proggy, it certainly did deliver what the singer-songwriter is famous for. He was backed by the band Empty Pockets who also had their own performance on the pool stage. Jane Getter Premonition gave a rocking performance on the pool stage alongside her husband and keyboardist Adam Holzman. They were joined by Randy McStine for a few songs.

Just after an update announcement on the ship’s system by Mike Portnoy (which thankfully did not interrupt the band), Lifesigns started their first set. Having graduated to the Pool Stage Sail-away slot at 6:45, these British (and Hungarian) Proggers showed just why they deserve to be on Prog’s A-list. The sun came and went; the storm clouds gathered and blew away; the audience basked in Caribbean sunshine and low-hanging cloud descended while the band delivered music to match the varied weather. The lyric to ‘Open Sky’ was particularly apposite. Dave Bainbridge delivered one of the most searing guitar solos of the cruise in ‘Last One Home.’ Poignant, funny and musically brilliant, Lifesigns were breathtaking and bassist Jon Poole gets Hilarious and Energetic Bassist of the Cruise Award.

After dinner, one of the best vocal harmony bands in Prog, Sweden’s Moon Safari, wowed Studio B. It was great to hear and see these young musicians in fine voice in a pleasingly well-attended venue. ‘Welcome Back to Heaven’ sang vocalist Simon Akesson – indeed. The band was without regular lead vocalist Petter Sandstrom (due to the birth of his child) which is simply astounding when one considers the complexity of their vocal arrangements. With their first live performance in three and a half years, this was a triumphant return for Moon Safari.

Wishbone Ash finally made their first appearance on the cruise at 6:30pm on the pool deck. My love for this seminal twin-guitar harmony band is well-known, and they did not disappoint. They won over a whole host of new fans with this set, which was a mixture of newer and classic material. Guitarist Andy Powell (who is the only remaining member of the ‘classic’ line-up) acknowledged that the band is not particularly well-known in American Prog circles, but with a nod and a wink, Powell pointed out that ‘Argus’ knocked ‘Thick as a Brick’ off the charts in 1972. A trilogy of Argus songs was played to a clearly impressed crowd and Martin Barre’s bassist Alan Thomson helped this classic rock master-band establish itself in a now not-so utterly Prog environment. By the time the epic ‘Phoenix’ was played, the job was done. The Ash’s front of house mix was amongst the best heard on the pool stage and kudos must go to the musicians and technical team – Wishbone Ash did a little bit of its own conquering that night.

Roie Avin led a pair of back-to-back Q&As in the ship’s main promenade. First, the Riverside Q&A was very well attended and showed how truly beloved this band is. One fan told the band how Riverside’s music had provided a constant solace in her life and said to Mariusz Duda ‘Thank-you for sharing your gift.’ Enough said – many people on the ship felt that way. Stu Hamm, bass player for the likes of Steve Vai, was next. The virtuoso bassist rocked the Star Lounge and when he pulled out Zeppelin’s ‘Going to California,’ playing the vocal melody on his bass, you knew that he meant it.

With just enough time for the rescheduled Transatlantic Q&A, I heard the guys in lively and humorous form, especially Ted Leonard and Neal Morse. The band emphasised how appropriate the name had become over the Pandemic and the importance of having an odd number of members for voting purposes. Stolt’s bandmate Mirkko deMaio was in the crowd in support.

The Alan Parsons Live Project was next in the Theater. The legendary producer and composer gave us all the hits for over an hour. As the announcer said, ‘We all truly love this man.’ The drummer was behind a perspex cage, in the true pursuit of Alan Parsons audio perfection, and with eight people on stage, it was a spectacular show. Beginning with ‘Standing On Higher Ground,’ it was immediately apparent that stellar and varied vocals were to be a feature of this show. While a little clinical at times, the show certainly crystallised the monumental amount of hits this man has produced. ‘I Wouldn’t Wanna Be Like You’ was a highlight, and there was plenty of funk in the band’s delivery.

It was a tough choice whether to go to the Zappa Band or Haken, but I ended up with the former since it was closer, and I would in any event have a chance to see Haken in their second set. I ended up regretting this decision to some extent, since Haken played a cover set featuring songs from Genesis, Peter Gabriel, Yes and Queen. But the most talked about highlight on the ship was when the band performed ‘Big Bottoms’ and ‘Stonehenge,’ while Jimmy Keegan came on stage and danced around mini runes (yes – Stonehenge as in Spinal Tap.)

The Zappa Band, veterans to a man (including Marco Minnemann), did the late Maestro proud. Frank’s guitar-sound in particular, was replicated to perfection. I walked in during ‘Tiny Pillows’ and bumped into Neal Morse who was also trying to be in two places at once. Ted Leonard was also in the crowd, as were Simon Phillips, Nick d’Virgilio, Ian Moseley and just about every other musician on the ship. Only on Cruise to the Edge can this happen. The crowd all bobbed their heads as the legend’s arrangements unfolded before them and you could tell that these fantastic musicians were having the time of their lives re-living Frank’s legacy. Minnemann in particular, gave a blistering drum solo that had the crowd (and the rest of the band) cheering. The Zappa Band deservedly got a standing ovation, and the evening ended with Late Nite Live.

Day 4 presented many interesting choices, especially in the photo-op department, but I chose to attend the live shows. Having been so impressed by Moon Safari, I caught the first part of their second show, this time in the open-air environment of the pool stage. Saga followed quickly in the Theater and Claudio Simonetti’s Goblin in the ice rink. I missed the latter two bands but heard glowing reports about them. Just around noon, IO Earth guitarist Dave Cureton tore the roof of the star lounge with a blistering solo guitar set.

Casey McPherson held an auction for his ‘To Cure a Rose’ rare disease charity with one-of-a-kind items donated by various musicians on the ship. From Fernando Perdomo’s bowler-hat to Roine Stolt’s wah-wah pedal, from a rare Spock’s Beard drumhead (signed by every member past and present) to Haken’s Stonehenge rune, this was a collector’s dream. There was even a day-long experience at Alan Parsons’ home that went for $16,000. In total, the auction raised over $37,000! It goes without saying that Proggers support each other.

Adrian Belew rocked the pool stage in an appropriate Panama hat and a tropical shirt that he apparently wore in David Bowie’s band. As Adrian said, ‘Two shows in and I love this band already.’ The crowd agreed.

Jakko Jakszyk provided a non-Crimson-oriented but highly melodic set of songs taken mainly from his latest album, with Lifesigns’ Zoltan Csorsz assisting ably on drums and, of course, the great Mike Kineally on keys, guitar and vocal harmonies. This was Jakszyk’s first solo gig in thirty-seven years, but there was no rustiness here. The band (who had only met Czorst two days earlier) gelled together beautifully. A great set in a great setting.

Protocol, featuring the legendary Simon Phillips, were next up on the pool stage. By now I was so used to bumping into Prog stars left and right that it had become de rigueur for me. But many, many of them seemed to be headed for Phillips’ set – especially drummers. It was not hard to see why – Phillips and his cohorts presented a jaw-dropping show of complex jazz-rock with all the bells and whistles (and, of course, Phillips’ see-through acrylic kit sounding like thunder in the warm sunshine.)

Transatlantic’s second show (which started 45 minutes late) featured all of ‘The Absolute Universe’ (an extra-extended version for blu-ray.) Roine Stolt’s voice was by this point quite ravaged and the other band members (mainly Ted Leonard) admirably covered for him in the higher vocal department. Mike Portnoy gave Ted Leonard an on-stage pat on the back for his extra vocal effort, almost every seat in the theater was filled and everyone in the audience was enthralled by the delivery of this mammoth album, which takes on a new life when performed live.

Adam Holzman attracted some big names to watch him deliver his unique keyboard performance in the Star Lounge, later accompanied by Randy McStine, who joined him in an amazing version of Peter Gabriel’s ‘Here Comes the Flood’ (a version they originally recorded for The Prog Report’s Prog From Home virtual concert in 2020).

People left very happy for Riverside in the Royal Theater, Wishbone Ash on the pool deck and Pain of Salvation in the ice rink. It was as if the organisers wanted to fill the penultimate night as much as they could, knowing that some passengers would want an early night on the final evening. Can there be such a thing as too much music? Not on Cruise to the Edge. Wishbone added ‘Blowin’ Free’ to their second set (an important addition for Ash fans) and Pain of Salvation were simply magnificent in their second gig since 2019. While ‘Panther’ may have its detractors, the live renditions of several of its songs certainly changed some minds and hearts on the night. Monstrous and as heavy as steel (both to the eyes and ears) POS produced the most head-banging set of the voyage. Shirtless guitarist Johan Hallgren must have been freezing (literally over covered ice) and it was good to see Daniel Gildenlow back to full health and musical form. The only word to describe this gig was ‘immense.’

The fifth and final day was a port day at Coco Cay – a tourist’s paradise of pools, palms and patios. Proggers mingled easily with passengers from another ship and the beautiful day went very quickly. On board, Martin Barre’s minstrels impressed the gallery of pool stage passengers. The band pays proper tribute to the spirit of classic Jethro Tull while putting its own non-keyboard spin on these great songs. Vocalist Dan Crisp gives one of the best Ian Anderson impersonations that I have heard, both in terms of voice and of visual movement. This was the final gig of Barre’s current tour. Also happening that afternoon were performances from Gabriel, whose band including Dave Bainbridge, Bill Hubauer, Joe Cass, and Fernando Perdomo, gave a powerful show in the star lounge, while prog veterans Nektar enchanted their fans with a nostalgic set of prog classics.

On to the mighty Haken in the Royal Theater. Ross Jennings announced ‘No Stonehenge tonight, only serious business,’ and did he ever mean it. The band were on top form with Ray Hearne’s angular patterns driving the songs forward at every quarter. New (and previous) keys man Peter Jones slotted in perfectly. They played songs from their last album ‘Virus’ for the first time. ‘Cockroach King,’ of course, made an appearance (this has become a bit of a tradition on Prog cruises) and the crowd bobbed their heads as one in recognition and then waved their hands in unison at Jennings’ command. The Haken LED glasses came out in ‘1985’ and the audience were enslaved. ‘Owner of a Lonely Heart’ made a re-appearance in the middle of “1985” and the crowd sang along with gusto before giant crowd balloons bounced around the room. The band knelt before the audience as they received a standing ovation. This imperious show was one for the Haken books.

Later, Pattern-Seeking Animals were in Studio B for their second set, now giving them the opportunity to open up to a much larger crowd. Starting with the very Proggy ‘Time Has a Way’, the band immediately launched into their now-signature sound. The larger stage also led to more pronounced stage antics, especially from keyboard player Dennis Atlas. The band played a couple of songs that were not played at the first show, including ‘Elegant Vampires,’ featuring the great Dave Meros on what can only be described as ‘Monster Granite Bass.’

Lifesigns, this time in the Theater, were a sight and sound to behold. Playing the whole of their latest album ‘Altitude,’ Prog’s next big thing absolutely flourished in this larger environment. How wonderful for John Young, Dave Bainbridge, Jon Poole, Zoltan Csorsz and sound designer Steve Rispin. In my review of ‘Altitude.’ I mentioned a certain musical ‘glow’ that Lifesigns create in studio. Live too, there was a marvellous glow that was palpable in that room, and hundreds of fans were converted that night. Utterly and absolutely triumphant, this was my favorite concert of the entire cruise.

I just missed Saga on the pool stage but was in the elevator with Michael Sadler on the way down, while the occupants applauded him personally. Jakko Jakszyk deserved a larger crowd than he got in his Theater show, (though Pete Trewavas and other stars were there) and after an hour’s delay, The Flower Kings proceeded to give the last non-passenger show of the cruise to rapturous applause. ‘Run no more’ said MC Jon Kirkman, who assured the crowd that ‘We are definitely coming back next year.’ TFK played a broad selection of material spanning their history all the way back to ‘Flower Power.’ Including several epics. While Hasse Froberg was in particularly fine voice for this late gig, Stolt’s voice was, in his own words only ‘half-back’ but more than adequate when he chose to sing. After TFK, the folks at Late Night Live assiduously took it home, playing long into the night.

And so it ended. This cruise was so jam-packed (despite the absence of Yes) that it all went very quickly, and before you knew it, it was over. My apologies to those acts that I did not get to see, but if you have ever been on Cruise to the Edge, you will know that it is simply impossible to see everyone and everything. The reports that I received about the acts that I missed, were consistently good.

From tiny piano bars to huge outdoor stages, cape costume contests to impromptu corridor performances, karaoke to Q &A, it all happened on Cruise to the Edge, led by the hosting team of Jon Kirkman, Roie Avin, Gregg Bendian, Mike Dawson, Rob Rutz, and Izzy Presley, who expertly guided all the festivities in their own unique ways. Meanwhile the hard-working crew made sure things ran as smooth as possible from lighting to sound and everything in between. Single passengers and large traveling groups alike were well taken care of and everyone I spoke to felt impressed and, above all, welcomed – even by the ever-vigilant concert security staff. The sense of musical family that only Cruise to the Edge can create, was in abundance in all corners of the Mariner of the Seas. A Panoply of Prog, the cruise is always an adventure, even for one who has been fortunate enough to have attended it several times. Music is important, and this very significant event reminds us why.

Exhausted but satiated as I write this, my thoughts as a Prog fan and lover of true friendship is this: music is the bond, and the event we so dearly love is back with a vengeance. Until the next time, my friends.

This was my first Cruise to the Edge and it was an incredible experience. Highlights for me were Pain of Salvation and Riverside, with Transatlantic, Haken, and Marillion close behind. My first exposure to Moon Safari and Lifesigns, who were both incredible.

Cannot recommend the experience enough to prog fans. Everyone – passengers, artists, staff – were so positive and full of joy the whole trip.

Very well written Nick! Did you learn to bi-locate to attend all these shows?! You certainly caught more than I did. But what an awesome event (I admit, I had to look up panoply – a very appropriate word now that I know what it means LOL) . I’m so glad you could change your plans at the last minute to attend. I can’t wait for next year’s! Hugs!

Dear friends, you might believe it or not… but it was 100% EXACTLY like Nick wrote, from the very first to the very last word. Again an amazing cruise, full of outstanding people, encounters, meetings with friends, concerts, events, being alive again. Cannot wait to be on the next cruise.

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Review: 2022’s 8 New Cruise Ships

Doug Parker

• December 29, 2022

As the world eased out of a pandemic, cruising slowly returned to an almost-normal state in 2022. This resulted in the debut of several new cruise ships, which we had sailed a few months back.

In this article, we’ll give you mini-reviews of the 2022 cruise ships we had the opportunity to sail, including important details about each vessel.

1. Carnival Celebration

• Who Sailed: Doug Parker
• Itinerary: 14-night transatlantic from Southampton to Miami
• Ship Class: Excel class
• Size: 180,800 gross tons / 5,374 guests

What I liked

Even though it was built on the same platform as Mardi Gras, Carnival Celebration is a little more guest-friendly in terms of space and seating. The only significant change you may notice is the Gateway Zone, which replaced the French Quarter on Mardi Gras.

The dark New Orleans spooky theme was replaced with a bright, airy travel theme as well as throwbacks of Carnival’s storied past.

Having spent 22 nights onboard, my two favorite food options on Celebration are Deco Deli and Big Chicken, as well as for-fee specialty venues like Rudi’s Seagrill and Emeril’s Bistro.

What I disliked

Even though the added alcoves, booths, larger mid-main dining room, and extra seating in the Punchliner Comedy Club were welcomed, improvements are still needed.

One drawback is the long wait to watch a comedy show; it almost took an hour before the comedy show started.

Also, the thermal suite on sea days was also very busy, and you could hardly find a chair. The cruise line should consider selling fewer passes or making them exclusive to guests booked in Cloud 9 staterooms. 

Lastly, the Celebration Central Zone (atrium) has a lot of sightline issues for the shows.

More about Celebration: First Impressions of Carnival Celebration & Carnival Celebration Dining Guide: Which Restaurants Are Complimentary?

2. Carnival Radiance

Even though this renovated and renamed ship technically debuted in late 2021, we include Carnival Radiance here since it’s still a newly-introduced vessel.

• Itinerary: Four nights from Long Beach to Catalina Island and Ensenada
• Ship Class: Sunshine class
• Size: 102,000 gross tons / 2,764 guests

This is almost a carbon copy of Carnival Sunrise and is perfect for shorter west coast sailings. I enjoyed the food in the main dining room. I also liked Shaq’s Big Chicken.

There are a couple of bottlenecks on the ship with a lot of congestion, with the two major ones being on the lido deck on the port and starboard side of the eateries.

The same can be said for the opposite side at Guy’s Burger Joint, although they have two lines.

More: 5 Carnival Radiance Tips: Know These Before You Cruise

3. Celebrity Beyond

• Who Sailed: Theresa Russell
• Itinerary: Two nights from Southampton, UK, to nowhere
• Ship Class: Edge class
• Size: 140,600 gross tons / 3,260 guests

Like other ships in the Edge class, Beyond takes this class to the next level. The absolute star of the vessel is found aft at the Sunset Bar, where you’ll see plenty of space for lounging, sunning, and live music in the evenings.

All these features are complemented by an upscale design evoking images of sunny destinations around the world.

Overall, this bar is a great place to find a connection to the sea and enjoy a sunset.

With improvements on each new ship in the Edge class, Celebrity raises the aesthetic and comfort of its ships.

No major issues are present. In my two-day experience aboard Beyond, my dislikes are more of a preference.

Craft Social was disappointed in its selection of porters and stouts. Seeing Budweiser and Miller Light on a flight made me shake my head. The space is nice, but the Martini Bar rules.

More about Beyond: Celebrity Beyond Trip Report: Day 1, More is More & MENU: Le Voyage Specialty Restaurant

4. Costa Toscana

• Itinerary: Seven-night Western Mediterranean
• Size: 185,010 gross tons / 6,554 guests

After figuring out the layout of the ship, I enjoyed Costa Toscana. I especially liked the Italian architecture in the center atrium — which was a play on the Colosseum in Rome — and the enclosed pool deck. The pizza onboard was spot on and maybe some of the best at sea, even though it cost five euro.

This is my fault because I didn’t do enough research before sailing, but there were limited food venues included in the cost of the cruise.

There was no dinner service at the buffet, so you had to dine in the main dining room or eat in a paid specialty venue. We did the steakhouse and the pizza place more often than I admit.

More about Toscana: Trip Report, Part 1: The Same, But Different & 9 Things To Know About Costa Toscana

5. Discovery Princess

• Itinerary: Four nights from LA to Ensenada
• Ship Class: Royal class
• Size: 145,000 gross tons / 3,660 guests

There is much to like about the Royal class ships, including the play on technology with the Ocean Medallion integrated throughout the cruise experience.

Dining at Alfredo’s Pizzeria is always a great experience when returning to the ship after a long day in port because of the complimentary dining, including pizzas, salads, and calzones.

Discovery Ship was never crowded while sailing, and the central atrium spanning three decks was perfect for participants and people-watchers alike.

Many guests were frustrated at having to wear the Ocean Medallion for everything they did. People often traded their medallions for keycards at the front desk.

6. Norwegian Prima

• Who Sailed: Richard Simms
• Itinerary: Four nights from New York City to Halifax, Nova Scotia
• Ship Class: Prima class
• Size: 142,500 gross tons / 3,215 guests

Everything in Norwegian Prima was elevated, from the decor of the staterooms to the stunning Mandara Spa.

What’s more, Deck 8’s wraparound promenade, Ocean Boulevard, featured bars, restaurants, pools (more like hot tubs), and a vast array of seating areas, making it a fantastic place to relax, especially on a sea day.

Indulge Food Hall — think a high-end food court — is also an incredible (and primarily fee-free) addition to the food options.

It was also lovely to see NCL downsize from the previous Breakaway and Breakaway-Plus class.

Although Indulge Food Hall offers a wide variety of options, it doesn’t have nearly enough seating, especially during prime lunch and dinner hours.

More about Prima: Everything You Need to Know About Indulge Food Hall & 5 New Hot Spots to Grab a Drink on Norwegian Prima & Best and Worst of Norwegian Prima: Is This New Ship Right For You?

7. MSC Seascape

• Who Sailed: Sarah Bretz
• Itinerary: Media event in NYC (not a cruise)
• Ship Class: Seaside EVO class
• Size: 170,400 gross tons / 5,877 guests

The latest iteration of the evolution of MSC’s Seaside class is a solid addition to the line’s fleet.

As is the case with every Seaside class ship, the family-friendly Jungle Pool is a slam-dunk, in my opinion, and the kids’ club located just off this area was a great design choice.

The feature that makes Seascape stand out — the top-deck ROBOTRON attraction — is a fun addition that any ride-lover should try. I also appreciate the grouping of the ship’s specialty restaurants.

The smart elevators are also a nice improvement that helps alleviate frustration due to long waits.

The ship’s layout will take more time to get used to, especially for those who are relatively new to cruising or who are used to other lines.

I often had to double back or go up or down a deck to get to another part of my deck. However, I was only on the ship for two days, so I’m sure halfway through a weeklong cruise.

The dining options are also a little lacking — if I were taking a regular, full-length voyage on this ship and only eating what’s included, I may get a bit bored with the available venues.

Additionally, the buffet is massive, with a wide variety of food.

More: My 7 First Impressions of MSC Seascape

8. Wonder of the Seas

• Itinerary: Seven nights from Fort Lauderdale to the Caribbean
• Ship Class: Oasis class
• Size: 236,857 gross tons / 5,734 guests

Royal Caribbean’s largest ship to date features familiar favorites on its sister Oasis-class ships.

The Wonder of the Seas has added an 8th neighborhood and another specialty restaurant and bar.

The Mason Jar Southern Restaurant and Bar brings homestyle cooking onboard with plenty of selections of comfort foods.

Even better is the carefully curated bar offerings to complement this new venue, which features live country music in the evenings.

Staterooms and corridors on Deck 6 behind Playmakers Sports Bar take on the odors from the kitchen. During cooking hours, the essence of fried chicken wafts through the area.

The newest private suite neighborhood includes a sun deck that overlooks the sports deck area.

At least one suite has a balcony overlooking a sports court rather than the sea.

More about Wonder: Overview of Wonder of the Seas & My Dining Experience on Wonder of the Seas & DINNER MENU: The Mason Jar Southern Restaurant

This 2022 cruise ships roundup was written by Doug Parker, Theresa Russell, Richard Simms, and Sarah Bretz

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I spent $2,000 for 7 nights in a 179-square-foot room on one of the world's largest cruise ships. Take a look inside my cabin.

• I booked a stateroom on Royal Caribbean's Wonder of the Seas, one of the biggest cruise ships.
• For $2,000 a week, the 179-square-foot cabin had a private bathroom, a king-size bed, and a view.
• I thought I'd feel cramped in the room, but it had everything I needed and left no space unused.

In April 2022, I cruised on board Royal Caribbean's Wonder of the Seas . At the time, it was the largest cruise ship in the world , but the title has since been replaced by Royal Caribbean's Icon of the Seas .

During my voyage, the ship sailed to Roatán, Honduras; Cozumel and Costa Maya in Mexico; and Royal Caribbean's private island in the Bahamas .

For $2,000, I spent seven nights in an ocean-view stateroom on deck eight. The cruise was on sale, as it was originally priced at $3,000. Take a look inside the 179-square-foot space.

My room was a mid-tier cabin at the front of deck eight.

I booked a mid-tier room — a step above interior staterooms , which have no window. It's a category below staterooms with a balcony , and two steps below a suite.

My cabin was on the same deck as Central Park, an outdoor space with 20,000 plants.

I thought it was the most relaxing area on the ship, so I enjoyed being close by.

When I stepped inside my stateroom, I was surprised at how big it felt.

Right away, I thought the cabin made great use of a small space.

To operate most of the electricity in the room, I had to insert my room key into a slot on the wall.

I appreciated the energy-saving system.

On one side of the room, I had a mirror and a desk with several outlets to charge electronics with USB, American, and European ports.

I thought the desk was useful for eating, as well as storing daily flyers about the day's events.

Next to the desk, a set of drawers included a cabinet with a minifridge inside.

The desk drawers were mostly empty aside from a hair dryer, which I didn't end up using.

Across from the desk, I had a couch positioned in between two closets.

Inside each closet, I found a rack of hangers, shelving, and a small safe. I thought it was plenty of space for a weeklong journey

Next to the couch and desk area, a small bathroom used clever storage hacks, like placing the trash can and toilet paper under the counter.

In the bathroom, there were two glasses, a bar of soap, and a two-in-one hair and body wash.

At the top of the shower, a pullout clothing line was useful for drying my bathing suits.

Each night, my stateroom attendant replenished towels and brought flyers and schedules for the next day.

Sometimes, the towels were folded creatively to look like animals.

I noticed that my king-size bed at the back of the room was actually two twin beds pushed together.

All Royal Caribbean cabins come with this configuration, according to its website , so they may be separated for additional guests. I often woke up in the crevice.

A large flat-screen TV was mounted across from the bed with storage hooks below.

Skinny nightstands on either side of the bed held lamps, charging ports, and a room phone on one side.

Because I booked an ocean-view room, I was able to look out over the front of the ship from a window above my bed.

The window was equipped with an electronic shade that could be opened during the day for grand views and closed when I was ready to sleep.

While I thought the room might have been a tight space for a couple with a lot of luggage or a family, it was just right for me.

And watching the sun rise over the Caribbean Sea from the comfort of my room was the best part.

• Main content

Royal Caribbean Lifts Profit View Again on Cruise Boom, Higher Prices

FILE PHOTO: Royal Caribbean's Icon of the Seas, the largest cruise ship in the world, is docked at Costa Maya Cruise Port, in the village town of Mahahual, Quintana Roo state, Mexico, February 6, 2024. REUTERS/Paola Chiomante/File Photo

By Juveria Tabassum and Doyinsola Oladipo

(Reuters) -Royal Caribbean Group on Thursday raised its annual profit forecast for a second time, after record bookings during the first quarter and higher ticket pricing boosted its results, sending its shares 4% higher premarket.

Soaring demand for vacations at sea has given cruise operators ample room to raise ticket prices as the industry looks to close the pricing gap between more expensive land-based holidays and give their profits a lift.

Royal Caribbean also beat expectations for quarterly profit and revenue, with half of its yield growth coming from higher ticket pricing.

"Our existing fleet along with our new ships continue to perform exceptionally well, highlighted by the market response to the launch of Icon of the Seas," said CEO Jason Liberty.

The company now expects annual adjusted profit between $10.70 and $10.90 per share, compared with its earlier forecast of $9.90 to $10.10.

The Celebrity Cruises operator carried 2.05 million passengers in the quarter, nearly 14% higher year-over-year. It also reported record demand during the "wave season" - a period marked by special cruise deals and discounts for the year.

That helped its quarterly revenue of $3.73 billion surpass expectations of $3.69 billion, according to LSEG data.

Higher ticket prices have helped shield the company from slightly steeper net cruise costs expected this year due to increased dry dock days, as well as an impact from canceled voyages to the Red Sea amid tensions in the region.

The company expects net cruise costs excluding fuel to increase about 5.5% for the year, up from its earlier forecast for a rise between 3.75% to 4.25%.

Royal Caribbean's adjusted earnings per share of $1.77 beat market expectations of $1.33.

"I remember owning the stock in 2022 and every client was giving me grief about it," said Peter Ahluwalia, manager at Belinvest Global Equity Fund that holds Royal Caribbean stocks and chief investment officer at Swiss Partners Group. "We're turning almost 45% return on equity at the moment, which is quite incredible."

Shares of the company have risen 126% to about $137 in the past year.

(Reporting by Juveria Tabassum in Bengaluru and Doyinsola Oladipo in New York; Editing by Devika Syamnath)

Copyright 2024 Thomson Reuters .

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