CRUISE
Seymour Centre
Reviewed by: Bridget Whitford
Photography by: Abraham de Souza
Three Words: Visceral. Fast. Poignant.
Similar To: It's a Sin meets Angels in America.
Watch If You Feel Like: Laughing, crying, and dancing. Sometimes all at once.
What My Guest Thought: I took a queer friend who had never seen a theatre show before. There's something wonderful about introducing someone to live theatre, but I also felt a little sad knowing I had to explain that not every show is like this. Cruise is a rare gem, and I hope it sets the bar high for his next trip to the theatre.
Best Line of Dialogue: "When you're stuck inside your head with your trauma on repeat, take the power from your brain and direct it to your feet."
How the Audience Reacted: There's something particularly affirming about sitting in a theatre full of queer people and watching a story like this unfold. Older gay men who lived through the events of the play sat alongside younger queer audience members, some of whom may never have fully appreciated the fight that made their own freedoms possible. The room moved between laughter and tears, with everyone utterly captivated. It felt like a shared experience across generations, and a reminder of just how much has been fought for.
Lighting & Set Design: Ruby Jenkins and Tom Hicks work beautifully in tandem, transforming the stage into three distinct worlds: a modern-day call centre, a sweaty nightclub platform framed by railings, and a bar. The transitions feel seamless, with Fraser Morrison moving between these spaces with impressive physical precision. Jeremy Lloyd's choreography is equally considered, giving each environment its own rhythm and energy without ever feeling overworked.
Acting: Fraser Morrison is a gem. Playing more than 50 characters in a one-person show is no small feat, but he gives each one a distinct voice, physicality and personality. The accents are spot-on, and there's a remarkable level of detail in every performance. He shifts effortlessly between characters, finding the nuance in each without losing the momentum of the story. It's the kind of solo performance that never leaves you checking your watch.
Writing: Jack Holden has written a brilliant script: funny, devastating, tender and full of life. It's also a reminder of how much independent theatre deserves a second life. Sydney's indie scene is often where the biggest risks are taken, yet a lack of funding and appetite for revivals means so many deserving productions disappear after their initial runs. Getting to see this British work on an Australian stage feels like a real privilege. Thank you, Jack Holden, for writing it, and Fruit Box for bringing it here.
Directing: Sean Landis has given this remount a fresh edge. The pacing feels sharper, the transitions more confident, and the balance between high-energy comedy and genuine pathos is beautifully judged. There's a real understanding of when to let the audience laugh, when to sit in the discomfort, and when to allow a quieter moment to land. The result is a production that feels alive and immediate, rather than simply revisiting a story that worked the first time around.
Overall: Get in while you can. The rave reviews are well deserved, and the standing ovation felt entirely earned. Cruise is funny, heartbreaking, euphoric and deeply human. It's the kind of theatre that stays with you long after you've left the building.
Diamond Rating (out of 5): 💎💎💎💎💎
Runs Until: 31 October