Ships as Theater Incubators
The better cruise ship entertainment gets, the more seriously the theater industry is taking it. "Back in the day cruise ship entertainment was just below accordion players. There was no respect," said Norwegian's Ambrose. When he started in the business a decade ago, producers wouldn't even return his calls. Now they’re calling him about their Broadway and West End debuts, hoping to collect franchise fees for road productions at sea (where shows are likely to be performed for years).
Some New York City shows may soon get their starts at sea. The original, Cuban-themed musical being developed for Norwegian Bliss by Tony Award-winning director/choreographer Warren Carlyle (After Midnight), for instance, is attracting interest by land-based producers. It's the first time an original production developed by a cruise company is garnering attention from outsiders, Ambrose said. And it’s no wonder: The as-yet-untitled show is being composed by Grammy award winner Albita Rodriguez, with costumes by Tony nominee Isabel Toledo.
So how did cruise shows get so good? The short answer is money. Cruise companies are investing in talent and striking partnerships with award-winning directors, choreographers, costumers, and set makers rather than buying package deals off the shelf from no-name producers. They’re also investing in rehearsal facilities that would make land-based professionals weep: Rather than practicing in conference rooms at motels, as they once did, cruise actors now have state-of-the-art spaces, such as a $32 million studio that Royal Caribbean opened in south Florida in 2015. The contracts that guarantee eight to 10 months of employment? They’re icing on the cake.
This article was provided by Bloomberg News.