A celebration of life, love and the resilience of the LGBTIQ+ community, Jack Holden’s CRUISE is an exhilarating and deeply affecting piece of theatre that captures the spirit of London’s Soho during the 1980s, while acknowledging the devastating impact of the AIDS crisis on a generation of gay men.
The story begins with Jack, a young volunteer learning the ropes at London’s Switchboard, the LGBTIQ+ telephone helpline, under the guidance of Kevin, an older gay man who offers advice drawn from his own experiences. On one occasion, Jack arrives a little worse for wear, only to discover that the rostered volunteer, Kevin, has failed to turn up. Left to manage the helpline himself, Jack takes a call from Michael Spencer, a man living with HIV who specifically requests to speak with someone older.
Michael’s story unfolds through his recollections of receiving an HIV diagnosis and being given just four years to live. Facing what he believes will be a premature death, Michael and his partner Dave decide to sell their possessions and embrace life to the fullest. What follows is an extraordinary journey through the bars, clubs, friendships and relationships of Soho, as Michael navigates love, loss and the uncertainty of a future he never expected to have.
Blending storytelling, spoken word, theatre and music, CRUISE recreates the energy of 1980s Soho while paying tribute to the gay men and wider LGBTIQ+ community whose lives were devastated by the AIDS epidemic. Its electronic soundtrack provides an energetic counterpoint to a story that explores love, loss, resilience, identity and the importance of remembering a generation whose stories deserve to be told.
Directed with an assured hand by Sean Landis, this production finds an impressive interpreter in Fraser Morrison, whose performance is nothing short of compelling. Taking on the considerable demands of a one-man play, Morrison demonstrates remarkable versatility, moving between more than 20 characters with impressive ease.
From Michael and his larger-than-life lover Slutty Dave to the flamboyant Polari Gordon, the eccentric Lady Lennox and the brash DJ Fingers, each character is given a distinctive personality, voice and physical presence. These characterisations capture the colourful personalities and contrasting worlds of Soho.
Morrison’s performance is complemented by Jeremy Lloyd’s movement, which adds considerable dimension to the physical storytelling. The fluidity with which Morrison shifts between characters, locations and moments in time creates a sense of a much larger ensemble, while maintaining the rhythm and momentum of the narrative.
He demonstrates a fine appreciation of Holden’s writing, finding the humour in the material without losing sight of its more poignant moments. The result is a performance that is both physically engaging and emotionally assured, a testament to Morrison’s considerable stagecraft.
The production is impressively realised through the combined efforts of Chelsea Wheatley (original set designer) and Ruby Jenkins (set designer). From the Switchboard helpline to the bars, clubs and backstreets of Soho, CRUISE moves through a succession of vividly evoked environments, capturing the social landscape of London’s gay scene in the 1980s. The journey takes in the excitement of the dance floor, the intimacy of private encounters and the less salubrious corners of clubland, alongside the more familiar domestic settings of Michael’s life.
These environments are clearly defined, providing a fluid backdrop for the unfolding narrative. The transitions between spaces are seamlessly handled, allowing the story to move effortlessly between the personal and public worlds Michael inhabits.
Thomas Hicks’ lighting design brings further distinction to these settings, establishing atmosphere and enhancing the changing moods of the production. Equally effective is Chelsea Wheatley’s sound design, which adds considerable punch and captures the electronic sensibility of the era. The music is more than a nostalgic accompaniment, becoming an essential part of the storytelling and evoking the energy and freedom of Soho’s nightlife.
What makes CRUISE particularly rewarding is its refusal to allow the tragedy of the AIDS epidemic to define the entirety of its story. While the loss and uncertainty are never understated, Holden also celebrates the friendships, relationships, humour and sheer determination to live that characterised the community. There is an infectious joy running through the work, making its more confronting moments all the more affecting.
While firmly rooted in 1980s London, the universal themes of CRUISE could just as easily be transplanted to Australia, where the experiences of that era were shared by LGBTQ+ communities around the world.
For me, the play carries a particularly personal resonance. Set in the era in which I was coming out, its music, references and recollections of clubland brought back memories of a time filled with excitement and discovery. We explored the clubs, made friendships and forged relationships without the convenience of dating apps or the constant connectivity of today. Meeting people meant getting out there, finding your way into the right places and becoming part of a community.
But it was also a time overshadowed by the AIDS epidemic. We lost friends and lovers to a disease that was still poorly understood and surrounded by fear and stigma. Who could forget the Grim Reaper television advertisements that brought the reality of the epidemic into Australian living rooms, leaving an indelible impression on an entire generation?
Holden’s play captures both sides of that experience: the exhilaration of being young, discovering your identity and finding your community, alongside the heartbreak of losing people who should have had their whole lives ahead of them. There is something profoundly affecting about seeing those experiences brought to life on stage, and a reminder of why these stories remain so important.
Fruit Box Theatre has delivered a polished and engaging production, anchored by Fraser Morrison’s outstanding performance. Jack Holden’s CRUISE is both a celebration of a generation and a poignant reminder of those we have lost, with a story that continues to resonate across generations. Entertaining, moving and ultimately uplifting, this is must-see theatre.
CRUISE
Theatre Works, 14 Acland Street, St Kilda
Performance: Thursday 12 November 2026
Season continues to 21 November 2026
Information and Bookings: www.theatreworks.org.au
Images: Fraser Morrison in CRUISE – photos by Abraham de Souza
Review: Rohan Shearn