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Cruise

Duchess Theatre

Reviewed – 23rd May 2021

★★★★★

“Holden epitomises the hope that is so necessary at the moment, without diminishing the tragedy”

“You’ve got to accentuate the positive, eliminate the negative” as the classic song goes; “Don’t mess with Mister In Between”. Well, there’s no messing with Mister In Between in Jack Holden’s solo show, “Cruise”. It embraces hope and optimism with a hug that would have the Covid police reaching for their truncheons. But that’s the point. This show defies the constraints of this past year and celebrates the thrilling side effects of upheaval.

During the early months of lockdown, Holden used the opportunity to write down his reminiscences of his time as a switchboard operator at the LGBTQ+ listening service. Whether it was his initial intention, the result is a powerful, fast-paced, riveting, mesmerising monologue that is kicking the West End back into life. Hot on the heels of Russell T Davies’ “It’s A Sin” TV series, the timing is flawless, but it surpasses comparison. Holden’s research mixes humour and reverence, fact and imagination to give us the exact flavour of the lost Soho of the 1980s.

Jack is a young, twenty-two-year-old volunteer in the present-day call centre. And not particularly good at his job. He has the knack of saying the wrong things, but then again, he receives a lot of crank calls. One day, left on his own in the office, he picks up the phone and meets Michael; a ‘gay veteran’. Michael was Jack’s age in the eighties when he received the then death sentence of being diagnosed as HIV-positive. We are whisked back to that time as Holden adopts not just the character of Michael, but the many, many vibrant and vivid individuals that shared his journey. We meet drag queens, karaoke stars, life-saving and life-affirming barmaids; the delightfully camp Polari Gordon, Slutty Dave among a host of others. We care for each and every one of them, sharing their highs and lows as Holden creates them out of thin air. His performance is as fearless as his writing. Moments of loss are juxtaposed with flights of fantasy and humour; grief and tragedy rub shoulders with laughter and resolve.

But what makes this truly special is the combination of each and every component of the show coming together with breath-taking coordination. The orchestration of sound, light, movement, prose, verse, music and expression is symphonic in its virtuosity. Nik Corrall’s scaffolding set, Jai Morjaria’s stunning lighting and John Elliott and Max Pappenheim’s soundscape come together with a choreographer’s precision as Holden struts his hour upon the stage, stepping in and out of the various characters. It is far from a one man show – John Elliott’s score is a crucial presence throughout; pulsing with its hypnotic rhythms, electronic whispers and crashing waves that brings the eighties into sharp focus.

The closing lines are reminiscent of F Scott Fitzgerald’s “… so we beat on, boats against the current…” The echoes go beyond mere pastiche as the sentiments resonate with a timeless vitality. Holden epitomises the hope that is so necessary at the moment, without diminishing the tragedy. We all recognise the complex issues of survivor’s guilt, but Holden, through the character of ‘gay veteran’ Michael, coaxes it into submission and shapes it into a beautiful celebration. We are still here. Theatre is still here. And plays like “Cruise” will undoubtedly enforce that fact.

Reviewed by Jonathan Evans

Photography by STUFISH

Cruise

Duchess Theatre until 13th June

Reviewed this year by Jonathan:

Sherlock Holmes: The Case of the Hung Parliament | ★★★★ | Online | February 2021

The Picture of Dorian Gray | ★★★★ | Online | March 2021

Bklyn The Musical | ★★★★★ | Online | March 2021

Remembering the Oscars | ★★★ | Online | March 2021

Disenchanted | ★★★ | Online | April 2021

Preludes in Concert | ★★★★★ | Online | May 2021

You Are Here | ★★★★ | Southwark Playhouse | May 2021

Abba Mania | ★★★★ | Shaftesbury Theatre | May 2021

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★★★★

“feels creatively alive, tender and hopeful; it leaves a lasting artistic shimmer and sprinkles a touch of magic”

C-o-n-t-a-c-t is an outdoor immersive promenade production, that takes place on the edge of the river, five minutes from Monument tube (other locations are available). Plugged into headphones, through a previously downloaded app (all very simple, and efficiently handled by the facilitator, who we meet 10 minutes before the production begins), the audience hears the thoughts and conversation of the two characters, one of whom we are instructed to follow.

The concept is a simple one, and reminiscent of Wim Wenders’ masterwork Wings of Desire: a guardian angel is on earth in human form, and he has appeared in order to help a young, lost and grieving woman get over the death of her father. Written by Eric Chantelauze, it is a delicate 50 minute reflection on grief. In Quentin Bruno’s English adaptation, the writing is predominantly colloquial and straightforward, with occasional excursions into a slightly more meditative realm, and for the most part works well, though an unfortunate last minute detour into Latin does feel hackneyed and unnecessary. Max Gold, as the angel Raphael, fails to convince in this instance, and the grandeur of the language reduces, rather than enhances, his angelic aura.

This was a rare jarring moment however. Samuel Sené (director and creator of the original production, along with Gabrielle Jourdain) has put some lovely subtle movement sequences in place within the characters’ walk together, and there are many moments of gentle beauty, particularly in Laura White’s performance as Sarah, which seamlessly embodies Aoife Kennan’s spoken narrative. The atmosphere is also hugely enhanced by Cyril Barbessol’s contemplative, melodic piano, which is a continuous musical thread throughout the piece, and works brilliantly under a London sky and against the grand, ceaseless flow of the Thames.

In these strange and pretty desperate times for live theatre, C-o-n-t-a-c-t feels creatively alive, tender and hopeful; it leaves a lasting artistic shimmer and sprinkles a touch of magic on a September evening. Highly recommended.

Reviewed by Rebecca Crankshaw

Photography by Pamela Raith