Jack Holden in CRUISE. Photo Credit: Pamela Raith Photography
Driven by a powerhouse performance, Jack Holden’s CRUISE is an emotional and humorous journey through 1980s Soho.
Jack Holden’s Olivier-nominated play CRUISE takes storytelling to a whole new level in the production’s second run in London’s West End. Using effective and smooth, quick-changing music, lighting, sound effects and subtle props, the creative team behind the production and Holden’s amazing acting skills take the audience on an emotional and humorous journey through 80s Soho nightlife amidst the impact of the early Aids pandemic.
Jack Holden and John Patrick Elliot in CRUISE. Photo Credit: Pamela Raith
From the minute you enter the theatre, the audience is instantly transported back to the 1980s. The stage is lit with neon lights, and music composer and performer John Patrick Elliot is already in character, playing his electric guitar, tapping to the beat, and adding to the atmosphere with his DJ beatbox.
The play begins in current times, with a character called Jack setting the scene by speaking to the audience. Jack works in a call centre for an LGBTQ+ helpline called Switchboard when he receives a call from Michael.
Michael’s story then takes over as the audience travels with him through his life, from arriving in London to living amongst the LGBTQ+ community in Soho. We follow his life’s ups, downs, and exciting times, with casual references to the nightlife, different music of the 80s and free sexual exploits of that time. Yet, just as the audience becomes invested in Michael’s life, tragedy happens as the Aids crisis affecting not Michael but everyone around him.
Jack Holden in CRUISE. Photo Credit: Pamela Raith
Running for a full 90 minutes, Holden successfully and effectively plays several characters throughout the play, so much so that you forget that he is, in fact, the only actor in the play. His ability to jump from one character to another clearly means the audience never loses sight of who is talking or participating in that scene.
Director Bronaugh Lagan’s role also deserves mention for her brilliant contribution to how the audience travels with Jack and Michael around the stage to the different places and events, from bars and homes to clubs and even to the dingy toilets where men often meet up for sex.
There is meaning to the show’s title CRUISE and references throughout the play. To ‘cruise’ in the social setting refers to checking people out and looking for meaningless sex, which is an undercurrent of the whole play and the life Michael, and his friends had.
Yet, Holden takes this further, with references to both TOP GUN and the character Tom Cruise plays, including a small scene where he sings the well-known track DANGER ZONE (originally by Kenny Loggins), in which the whole audience smiles and wants to join in with.
As a writer and actor, Holden represents what future storytelling should be about. CRUISE is a show you should see not only for its entertainment, history lessons and thought-provoking topic but Holden’s powerhouse performance.
CRUISE runs at the Apollo Theatre, London, until 4 September 2022.
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