How is one man going to keep us entertained for an hour and forty minutes, we wonder. Well, Jack Holden well and truly danced, sang, multi-roled, and wrote his way into critical acclaim last night. 

With music composed and performed live by John Patrick Elliott, the play catapults us into the world of 1980’s Soho through the eyes of a young, gay, millennial Jack himself. Jack works for Switchboard, a telephone lifeline and safe space for the LGBTQ+ community. Back in the 1980s, it was as much an advisory service – where’s the best place to go dancing on a Thursday on Old Compton Street? – as it was a space for Queer people to air worries, fears, concerns and questions. Portraying himself as thoroughly entrenched in what life is like in the here and now, Jack finds himself humbled and educated on the highs, lows, triumphs and tragedies of life in the 1980’s Queer community by an older man called Michael. 

We know Holden is the only actor onstage, but we forget, such is the sheer talent and magnitude of energy he barrels around the stage with. He plays tens of characters, morphing between them with ease but always returning recognisably, and seamlessly, to himself. It’s a skill many try to hone but few are born naturally with. Holden never tries too hard to be something he can’t; he retains a tiny part of himself within each character he inhabits. Through this, we feel that he relates to everyone he is told about. The incredible sense of community he creates is palpable.

John Patrick Elliott’s music captures both an entire era and a musical movement. It encapsulates a new genre of music being born and it takes us on an emotional journey. Elliott skilfully performs live, musically narrating Holden’s story, dextrously jumping from electric guitarist to DJ. It’s refreshing and unique to see this kind of electronic music showcased. It feels like an important education and really contributes to the atmosphere of the 1980s. No music can be applauded without mentioning the sound design, devised jointly by John Patrick Elliott and Max Pappenheim. Both Holden’s voice, and the music created and played by Elliott, are impeccably clear and transportive. 

In a similar vein, Prema Mehta’s lighting is eclectic, amazingly timed, and contributes to the impressive creation of many different pubs, dwellings, clubs at different times of the day, weeks, months, and years. With an actor multi-roling to this extent, the lighting is really put under the spotlight (pun intended), and it holds up magnificently, contributing to the incredible storytelling by completely transporting us to different places and moments without us questioning it. 

The play, written by Holden in the first UK lockdown, is poignant, laugh-out-loud funny, and a great example of the skill and talent within the entire creative industry. Holden may have written and starred in Cruise but lighting, sound, music, and set design were also stars of the show. Hurry down to the Apollo Theatre and catch this play – it’s surely going far and one to watch. 

***** Five stars

Reviewed by: Eliza Harris

Cruise plays at the Apollo Theatre in London until 4 September, with tickets available here.