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This cruise line rivals Broadway with 134 shows, 50 theaters

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MIAMI (AP) — In a non-descript building in North Miami, two dozen dancers in bouncing yellow skirts are high kicking the can-can, aerialists are spinning perilously high from silk cords and frantic seamstresses are hemming outfits in a 20,000 square-foot costume shop. They are all part of a company that puts on more live productions a year than Broadway and London’s West End combined.

Royal Caribbean International’s cruise line directs 134 shows in 50 theaters on 26 ships around the world, including seven Broadway-originating shows, eight aqua shows, 18 ice shows and dozens of original musicals.

“We have a nightly audience of about 100,000. It is by scale a very, very large operation. Probably under one roof, the biggest in the world,” said Nick Weir, senior vice president of entertainment. “At any one time, there’s 1,500 to 1,800 cast members employed to make this all come to life.”

It takes two to four weeks for an army of dancers, singers and aerialists to learn a show before they’re dispatched to ports as far away as Australia and China.

On a recent afternoon, dancers roamed the halls in crop tops and buns. One stretched into a wide split on the floor. There are 14 dance studios, 15 rehearsal rooms, a recording studio, gymnasiums and auditorium. Exercise equipment lines some hallways. Nearby are living accommodations for 470 of the performers.

Often dismissed in the past as second-tier, cruise entertainment has evolved to a genre that Royal Caribbean says commands some of the best talent and technology around.

Several of the main characters in “Mama Mia” are from the Broadway version of the show. While New York theater has struggled to turn profits with its small, intimate venues, fickle crowds and finite real estate, the cruise industry’s onboard audience is growing exponentially.

Royal Caribbean is building five ships in the coming years, each with a custom-built theater with sophisticated stages and high-tech effects. A few years ago, they built a small plane with a 22-foot wingspan that now flies over the audience in every production of “FLIGHT: Dare to Dream.”

“The stages that they have on the ships, the technology is far better than it ever was on a Broadway stage, even 10 years ago,” said Greg Graham, who was the resident choreographer for “Billy Elliot” on Broadway before coming to the cruise line to choreograph “Hairspray.”

Roughly 3,000 hopefuls showed up to recent auditions for “Hairspray” in New York and London.

Weir said the casting operation is massive, culling talent from 75 cities a year auditioning nearly 25,000 performers last year alone.

“At my audition there were hundreds of girls … it’s very competitive. There are so many people who want to be doing this,” said Taryn Borman, a 21-year-old Australian dancer, who’s performing on a ship for the first time in a new show with aerialists and contortionists. She’ll head to Asia with the cast in a few weeks.

Singer and dancer Oli Reynolds, 26, wrapped up a starring role in London’s West End production of “Mama Mia” and came back to Royal Caribbean where he’s reprising the same role.

“I think there’s still a stigma about cruise ship performing … historically, a lot of cruise lines didn’t put the focus on the performing, it was more about the destinations,” said Reynolds, who stressed that’s changed. “People come from Cirque du Soleil, they come from Vegas, they come from London, they come from Broadway and it is a progression in my career for me.”

John Kenrick, a musical theater historian and adjunct professor at New York University, says the evolution was inevitable as more sophisticated cruise audiences — accustomed to seeing shows in spots like Vegas and Atlantic City — are demanding better entertainment.

“It’s certainly upped the game. (Cruise theater) used to be a little better perhaps than summer stock just with better costumes,” said Kenrick, adding “it’s definitely improved. I can’t say it’s Broadway.”

Every performance on every ship worldwide is rehearsed at the roughly 133,000 square-foot facility where the halls are literally alive with the sounds of music.

In one room, dancers with black top hats are perfecting choreography to “All That Jazz.” Across the hall, six singers are harmonizing a number from “Once Upon a Time.” In a recording studio next door, the walls reverberate with what sounds like theme music from an adventure movie.

At the massive costume shop, the hum of a sewing machine where a seamstress works on a gold glitter costume competes with the hiss of a steam iron. One of the head seamstresses is busy completing a white sequin ballroom dress, with flowing feathers and a rhinestone studded bodice. The cruise line makes its own costumes and must coordinate fittings for dozens of shows.

The cast on each ship performs not one, but three shows — a Broadway musical like “Hairspray” or “Grease,” a ballroom style show and a pop show. The shows are upbeat and family oriented and chosen to appeal to a wide audience — nothing too sexual or intellectual.

Scheduling all the rehearsals is more precise than the choreography. The new casts arrive, rehearse and depart to sea at a dizzying pace every few weeks. It takes exactly 26 days to train a new cast to perform the musical “Cats.”

Typical theater productions will rotate in new cast members periodically, but Royal Caribbean prefers to sign performers to roughly nine-month contracts. They spend a few weeks learning three shows from scratch and then head to sea. When it’s over, the cruise line casts a new set of performers and begins again.

Staging a show at sea has its own challenges and quirks. Performers need extra core strength to adapt to rough waves and pitching ships. If a costume is ripped, there’s no one to run to the store.

There are also perks that even the most legendary theaters on land can’t compete with — picturesque ports, free meals, room and board, the chance to interact with the audience and the sense of onboard community not found at other venues where performers simply go home each night.

“You definitely become more of a family,” said Mya Carpenter, a 22-year-old dancer who performed in Paris before joining Royal Caribbean. “You come to know people inside and out. They’re friends for life.”

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St. Lucian Dona Regis-Prosper Named First Female Secretary-General and CEO of the Caribbean Tourism Organization

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BRIDGETOWN, Barbados – The Caribbean Tourism Organization (CTO), the premier tourism development agency for 25 Caribbean countries and territories, has appointed Dona Regis-Prosper the new Secretary-General and Chief Executive Officer. Beginning her assignment on September 1, 2023, Regis-Prosper, who hails from St. Lucia, is set to make history as the first woman to assume leadership of the intergovernmental body.

With an impressive career that spans more than 22 years, Regis-Prosper brings an unparalleled depth and breadth of knowledge and experience in the tourism industry to the CTO. She has lived and worked in multiple Caribbean destinations, and served as Director of Marketing and Product Development of the St. Lucia Air and Seaports Authority; Director of Business Development for Margaritaville Caribbean Group in Jamaica; CEO of the Tortola Pier Park in the British Virgin Islands; and General Manager of the Antigua Cruise Port where she is currently employed.

Chairman of the CTO, Kenneth Bryan, who is the Minister of Tourism and Ports of the Cayman Islands, welcomed Regis-Prosper to the regional body. “We are extremely pleased to have Dona Regis-Prosper come on board to lead the CTO. Her vast experience, strategic insight, and impressive track record in the tourism sector make her an exceptional choice to propel our organization into a new era,” he stated, adding that having more women in positions of influence enhances the efficiency of the region’s major economic earner and sends positive messages of encouragement and inspiration for women and girls across the Caribbean.

A dynamic and transformative leader who has built and sustained a strong network of professionals in both the public and private sector (working closely with regional government officials, tourism stakeholders, and industry professionals), Regis-Prosper emerged as the top choice from a pool of more than 60 highly qualified applicants. The rigorous selection process included multiple rounds of interviews and a comprehensive assessment related to addressing some of the most pressing issues faced by the regional tourism industry.

Chairman Bryan disclosed that throughout the selection process, ministers, commissioners and directors lauded Regis-Prosper’s transformational leadership style. “They found her to be innovative, forward-thinking, results-driven, and solution-oriented,” he said, noting that her perspective on managing the climate crisis was particularly well-received, illustrating her deep-seated passion for sustainability and her ability to develop practical solutions to critical industry issues.

Regis-Prosper takes over the organization’s leadership reins from Acting Secretary General and CEO Neil Walters, CTO’s Director of Finance and Resource Management, who has been filling the position following the retirement of Barbadian Hugh Riley in 2019. The other two Caribbean tourism professionals to serve in the region’s top tourism post include the late tourism stalwart Jean Holder and Vincent Vanderpool Wallace, former Bahamas Director General and Bahamas Minister of Tourism.

Of her new role, Regis-Prosper stated, “I am deeply honored to have been selected to serve as Secretary General of the CTO and am grateful for the trust and confidence the CTO Council of Ministers and Commissioners of Tourism and the Board of Directors have placed in me. I eagerly look forward to working with our dedicated team and diverse stakeholders to promote the Caribbean tourism sector, champion sustainability, and continue to foster impactful relationships and deliver ROI for our members.”

With a Master of Business Administration degree, Certified Professional Marketer qualification, and significant experience in business development, strategy, marketing and sustainability, Regis-Prosper is well able to lead the Caribbean tourism sector into a bright and prosperous future, Chairman Bryan asserted.

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Dezerland Action Park Orlando to host I-Drive Throwdown

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ORLANDO, Fla. — Do you love off-roading and adventure? Or maybe you just want to see a bunch of giant, modified trucks? Dezerland Action Park, home of the Orlando Auto Museum and Central Florida’s car show headquarters, is bringing hundreds of exciting trucks and other off-roading vehicles to International Drive with I-Drive Throwdown.
Presented by American Force Wheels, I-Drive Throwdown will take over Dezerland Action Park from Friday, July 21 to Sunday, July 23. The event is designed to showcase the power and agility of various off-road vehicles, including trucks, side-by-sides, and ATVs, and will draw some of the most popular auto influencers and truck enthusiasts from around the country to the area.
Dezerland Action Park will serve as a one-stop shop for visitors attending the event, with all of the trucks and judging on-site and plenty of attractions, food and nighttime entertainment to enjoy.
“We’ve seen a large volume of ticket sales for the event come from other states, so we’re expecting to see a positive, economic impact on the area’s hotels, restaurants and more,” said Lana Vegosen, director of marketing for Dezerland Action Park Orlando. “Automotive tourism is on the rise, and Dezerland Action Park and the Orlando Auto Museum will continue to welcome car enthusiasts from around the country for elite car and truck shows year-round.”
In addition to the amazing, off-road vehicles, the event’s vendors include some of the best accessory companies, build management groups and special guests who will make I-Drive Throwdown an event to remember. Plus, plenty of awards and prizes will be given away throughout the weekend.
After visitors check out the trucks and vendors, they can head inside the Orlando Auto Museum to see the country’s largest auto museum which is home to more than 2,000 vehicles worth over $200 million, featuring everything from military vehicles used in combat to cars made famous by television and movies and vehicles from a variety of decades and countries around the world.
Guests can also enjoy meals from a variety of cuisines in Dezerland Action Park’s food hall and explore the fun attractions inside, including Florida’s longest indoor go-kart track, a laser tag maze, a virtual reality arena and more.
Spectator passes for I-Drive Throwdown start at $20 and there are still spots available for vendors and those looking to present their vehicles. Entrance to the Orlando Auto Museum and Dezerland Action Park’s attractions must be purchased separately.

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BOGO Orlando Auto Museum passes for Father’s Day

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ORLANDO, Fla. — Wondering what to get your car-obsessed or movie-buff Dad for Father’s Day? Gift him an experience any dad would love with a trip to Orlando Auto Museum.
With over 2,000 vehicles worth over $200 million and plenty of exciting attractions all under one roof, Dezerland Action Park Orlando is the ultimate Father’s Day destination in Central Florida.
On Sunday, June 18, guests can take advantage of buy-one-get-one-free passes to the Orlando Auto Museum. Dad will love exploring the country’s largest auto museum to discover vehicles from a variety of decades and countries around the world, learning about military vehicles used in combat and snapping family photos with vehicles made famous by television and movies.
After experiencing the Orlando Auto Museum, families can take Dad around Dezerland Action Park Orlando for more family fun. Florida’s largest indoor attraction is home to the state’s longest indoor karting track with four skill and speed levels, a boutique bowling alley, VR Arena, Laser Tag Maze and more.
Guests can also enjoy a meal from a variety of cuisines in Dezerland Action Park’s food hall, unlimited cereal for $5 at MILK The House of Cereal and custom soda creations at Sodasquatch.
Entrance to the Orlando Auto Museum and Dezerland Action Park’s attractions must be purchased separately.

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