There are two types of standing ovation: The ones where there is a slow trickle of people getting to their feet and the rarer ones where the entire audience leaps up en masse. Jack Holden's Cruise at the Apollo Theatre was in the latter category.

Jack Holden and John Patrick Elliott in Cruise, Apollo Theatre 2022. Photo: Pamela Raith Photography

Written and performed by Holden, this hour and 40-minute explosive, energetic delight of a play is primarily set among the gay community in 1980s Soho. It's about having one last night when you think you won't be around for tomorrow. But to set up that night, the play looks back at the four preceding years.

Aided by musician and DJ John Patrick Elliott, Holden takes the audience on a journey evoking the sounds, atmosphere and characters of this colourful but less than salubrious part of central London.

And what characters, some only in the story for a few lines, others who weave in and out throughout, but each is richly painted. Holden doesn't put on costumes or use props; rather, he brings each vividly to life in the way he describes them and with subtle and not-so-subtle mannerisms. 

He switches effortlessly but with almost dizzying speed between each, and as a result, the play feels like it has a huge cast. The tonal shifts are also effortless. Wit, humour, fun and uplifting moments mix with the grimier, grimmer and heartbreaking, all of which are set against a backdrop of music that matches and enhances each moment.

There was a point while watching Monster at the Park Theatre when I realised I had my hand over my mouth. What was unfolding on stage was shocking, and I haven't had a reaction like that to a play for quite a while.

Caitlin Fielding and Abigail Hood in Monster, Park Theatre Aug 22. Photo credit: Ben Wilkin

Abigail Hood's new play is set in Glasgow in 2006 and follows teenager Kayleigh 'Kay' Grey (played by Hood) and her best friend Zoe (Caitlin Fielding). Zoe is quiet and shy and gets bullied, and Kay is prone to retaliate on her behalf. However, the retaliations tend to get her into increasingly serious trouble.

One teacher, Mrs Hastie (Emma Keele), thinks Kay is at heart a good person, but something is going on to make her act up. She is trying to build trust so Kay will open up.

But before Mrs Hastie can find out if her hunch is right, events start to spiral out of control with horrific consequences.

(I'm being deliberately vague as I don't want to spoil anything.)

The structure of the play means it builds to a critical event, but rather than that being towards the end, it allows time to deal more fully with the consequences. And that's what makes this really interesting.