Imagine dedicating your life to the stage, only to find yourself confined to a floating city with strict schedules and limited sunlight. This is the reality for cruise performers like Jacob Beresford, the British actor who landed the lead role in Royal Caribbean’s Back to the Future: The Musical thanks to a stroke of luck—and a storm. But here’s where it gets controversial: while many dream of traveling the world, the life of a cruise performer is far from a perpetual vacation. It’s a world of discipline, adaptation, and unexpected challenges.
Beresford’s journey began when a storm forced his ship, the Anthem of the Seas, to return to Southampton a day early. This allowed him to attend an in-person audition in London, a requirement for the role. Fast forward to today, and he’s starring in a shortened version of the Broadway musical aboard Royal Caribbean’s newest ship, Star of the Seas, sailing through the Caribbean. And this is the part most people miss: behind the glitz of the stage lies a meticulously structured routine.
A typical day for Beresford involves physical and vocal warm-ups, ensuring his voice stays healthy, and—crucially—getting sunlight. ‘You can be inside the ship for so long that you suddenly feel depressed,’ he explains. ‘Then you realize, Oh, I haven’t seen sunlight in 48 hours.’ The Caribbean sun is a welcome ally, but the ship’s strict meal schedules add another layer of discipline. Performers can’t bring their own food, so they must adhere to the ship’s dining timetable, making their routines even more rigid.
On show days, Beresford’s preparation begins 2.5 hours before curtain call. This includes vocal warm-ups, costume setup, and even threading BlackTrax beacons into his costume—a unique challenge of cruise performances. These automated spotlights track performers’ movements, adding a layer of technical complexity. Here’s a thought-provoking question: Is the life of a cruise performer more about artistry or adaptability?
One of the biggest challenges Beresford highlights is the audience itself. Unlike traditional theatergoers, cruise passengers haven’t paid specifically to see the show. ‘Some guests might not have theater etiquette,’ he notes. ‘You’ll have people having full conversations during a moving scene or alarms going off.’ Bold statement: This raises the question—does the setting of a cruise ship diminish the theatrical experience, or does it simply redefine it?
The ship’s movement adds another layer of difficulty. Despite its size, storms can cause noticeable rocking, which affects performances. ‘Sometimes I’m going uphill on my skateboard, and I can feel myself trailing backward,’ Beresford says. Controversial interpretation: Is this a testament to the performer’s skill, or does it highlight the limitations of cruise ship entertainment?
When not performing, Beresford cherishes moments of peace on the crew-exclusive helipad, a sunny sanctuary away from guest areas. His favorite destination? Singapore, with its stunning ecosystems and unexpected reminders of home, like Marks & Spencer stores. Final thought-provoking question: As cruise performances grow in popularity, will they become a rival to traditional theater, or will they always be seen as a secondary experience?
What’s your take? Does the unique setting of a cruise ship enhance or detract from the theatrical experience? Share your thoughts in the comments below!
