Making waves

Braden Sweeney ’17 is in the middle of the ocean, hanging by his feet from a spinning hoop about 20 feet above the ground. He glides through acrobatic movements as dancers leap across the stage below him, with lights and pulsating music enveloping the theater.

For Sweeney, a singer and dancer in his third contract with Norwegian Cruise Line Holdings, it was just a part of the job for him last summer. Among his three contracts, he’s appeared in six different shows ranging from concerts featuring some of Broadway’s favorite tunes and dance review shows to full production Cirque du Soleil style acrobatic performances.

Sweeney and other recent alumni of the musical theatre program represent the changing tides of entertainment at sea.

Entertainment has been signature to cruise lines since their earliest inception. Before cruising transformed into the multi-billion-dollar industry it is today, entertainment was modest aboard ocean liners making some of the first trans-Atlantic voyages. Guests typically enjoyed live music during dinner, card games and perhaps the appearance of a magician performing slight-of-hand tricks.

Today, the stage is much different for performers. In the past decade, elevating entertainment on cruise ships to Broadway-caliber performances has been the trend. Some of the major cruise lines are even adding current or former Broadway hits such as Rock of Ages, Chicago and Jersey Boys to their performance lineup. Others are recruiting Broadway producers, composers and dancers to create original works specifically for cruise ship audiences. Theaters on ships can rival some of the mainstays on the Great White Way with luxurious design and state-of-the-art LED screens, which act as the backdrop for many shows.

“You truly can’t tell the difference between this and Broadway,” Milika Griffiths ’17 says while docked in Port Canaveral, Fla., during her minimal downtime. With two shows per day and other duties such as escorting Mickey Mouse to his meet and greet and mingling with passengers, there’s no true day off for Griffiths.

“The most challenging thing is that you’re always on and always working,” she says. “On land, you have a chance to go home and have breaks from the audience. On a cruise ship, I’m always performing even after all the shows are done.”

Griffiths signed with Disney Cruises last September for the role of the operatic Madame de la Grande Bouche — better known as the wardrobe — in Beauty and the Beast. She also hosts a review-style show featuring some of Disney’s favorite characters and stars as the Lion King’s Rafiki in a performance called “Disney’s Believe.”

Beauty and the Beast is one of Disney’s newest additions to its performance roster, joining Aladdin, Frozen and Tangled. It is a shortened, hour-long version of the recent live-action film to accommodate guests of all ages. Broadway artists have designed the elaborate costumes used to transform actors into their inanimate counterparts. Grand set pieces and full-length LED screens create the magical world, while a live orchestra accompanies classic showstoppers like “Be Our Guest” and “Tale as Old as Time.”

Royal Caribbean has established itself as the leader in Broadway entertainment aboard cruise ships. It is the only cruise line performing full-length Broadway shows, first staging the ’60s-extravaganza Hairspray in 2009. Today, Mamma Mia, We Will Rock You, Grease, Saturday Night Fever and Broadway’s second longest-running musical, CATS, are performed on its fleet of more than 20 ships.

Cruise lines are continually adding and upgrading entertainment options for travelers because they matter to passengers — more than they initially realize. Entertainment is the most utilized feature onboard with 70 percent of guests attending at least one performance, according to cruise industry leaders.

“There are some guests who come on our ship specifically to see CATS because they know they can’t make it to Broadway,” says Abbey Sierakowski ’15 who currently plays the flirtatious Bombalurina in CATS on Royal Caribbean’s Oasis of the Seas.

Authenticity is key for CATS. The entire production from the cast, score, dancing and sets had to be approved by Lloyd Webber’s production company. Sierakowski’s live audition was filmed and sent to the company along with her other cast mates’ for approval from the group.

“They want to make sure this is a true version of the Broadway show,” she says. “We’re singing the original score in its entirety, doing the original choreography and the set is a replica of the 1981 version.”

While the performances are full out, there are some difficult cuts behind the scenes for the actors. Performers need to wear more hats than their costumes call for most of the time. Backstage is tight and there is virtually no crew. Actors need to keep track of all their props and any set pieces used in the show. There are typically no understudies except other members of the cast. There are no makeup, hair or costume attendants. The actors in CATS underwent three hours of makeup training so they can transform into their feline for each show. Performers even become crew members should an emergency happen on board.

“We went through hours of safety training,” Sierakowski says. “If there was ever an emergency call during the show, we’d have to stop immediately and go help passengers board lifeboats in full makeup, wigs and unitards.”

The unpredictable environment of a moving ship can also complicate performances. Seasickness is common, with Dramamine, despite its tiring effects, being the remedy of choice. Holding one’s center to complete a double pirouette or preparing for a landing from a jump during a routine becomes difficult for even the most seasoned dancers.

“Your priorities shift a little bit from doing the best technical turns or jumps to just not falling sometimes,” Sweeney says.

Isolation from friends, family and the hub of New York City’s ever-evolving theater district can sink spirits at times. Staying up to date on casting updates is crucial and capitalizing on free Wi-Fi while docked in the U.S. is a must, Sierakowski says.

“Buy the phone call,” Sweeney agrees. “It’s worth the $10 and will immediately ground you from whatever sense of loneliness you’re feeling.”

Working as a performer on cruise ships tends to be an attractive option for actors and dancers early in their careers, says Robin Lewis, associate professor II in the Department of Theatre and Dance and a former Broadway and cruise ship dancer.

“It’s a great way to save up money so they can go to New York,” he says. “Most of the time all of their lodging and meals are paid for in addition to their salary, which can range from $800-1,500 per week depending on the ship. They may be learning new skills too, which can help in the industry. Plus, they get to see the world and travel when they’re still young.”

Traveling the world, while doing what they love, is an experience none of the three would trade. Sweeney, Griffiths and Sierakowski all agree that living and working on a cruise ship has taught them discipline for both now and in the future as a performer.

“The goal point blank period is to work,” Griffiths says. “I’ve been so vocally challenged with this contract and it’s done such a great job of shaping me as a performer for other contracts. After this, eight shows a week on Broadway — no problem.”