
Five essential things to know before you board a Norwegian Cruise Line ship
Norwegian Cruise Line – affectionately dubbed NCL – has been shaking things up in the cruise world for nearly 60 years.
It was NCL that pioneered the private island trend when it opened Great Stirrup Cay – a beach haven in the Bahamas – back in 1977.
Other cruise companies, including Royal Caribbean and Princess Cruises, followed in NCL's footsteps and purchased their own private islands, but decades later in the 1990s.
For its next trick, in 2007, NCL brought bowling onboard before introducing the Haven – a private ship-within-a-ship concept that other cruise lines have since adopted – in 2010.
However, it is overthrowing fixed dining – whereby you are allocated a table and time to dine for the duration of your sailing – that the line is arguably best known for. Instead it offers freestyle cruising: on NCL ships, guests get to eat when, where and with whom they wish.
This relaxed approach to dining proved such a hit that, once again, it wasn't long until competitors unveiled their own versions of Freestyle Dining – Holland America Line 's 'As You Wish' and Princess Cruises' 'Personal Choice' dining.
Never a line to rest on its laurels, NCL was also the first cruise outfit to offer studio cabins and accompanying lounges for solo travellers.
Today, NCL has 20 high-energy ships – including the new Norwegian Aqua, which boasts the world's first hybrid roller coaster and water slide at sea – in its fleet, with four more set to be launched by 2036.
1. Where does NCL cruise?
Worldwide to more than 400 destinations, including the Caribbean – where it has two private islands, Great Stirrup Cay in the Bahamas and Harvest Caye in Belize – Europe, and Alaska.
During the summer months, the line typically deploys nearly half its ships to Europe (destinations include the Greek islands, the Mediterranean, and northern Europe), while also sending several vessels to Alaska and operating cruises out of Boston and New York City to Bermuda.
In winter, NCL moves the lion's share of its fleet to the sun-kissed Caribbean. Make no mistake: the region is a big focus for NCL – so much so that, up until 1987, the outfit was known as Norwegian Caribbean Line.
Elsewhere, a few ships are redeployed to Asia, Australia, and South America, with one vessel staying on in Europe.
NCL has also become synonymous with sailings to Hawaii: the line's 2,150-passenger Pride of America is the only cruise ship in the world to sail year-round from Honolulu, with stops at four different islands and overnights in port at the islands of Kauai and Maui.
Repositioning cruises (whereby vessels relocate, when the weather turns chilly, from one part of the world to another for the start of a new season) are another option offered by NCL.
Since they often cross oceans, repositioning cruises invariably feature several sea days but NCL puts on a programme of activities – from line-dancing classes to trivia contests – to help passengers fill the time onboard.
2. Who does NCL appeal to?
The mainstream line prides itself on offering a flexible cruise experience – NCL introduced the idea of 'freestyle cruising' in 2000 as a way to attract customers who may be put off by the idea of a regimented holiday at sea.
Consequently, NCL appeals to passengers who relish the chance to eat spontaneously in any choice of restaurant, while eschewing dress codes and formal nights.
Much like Royal Caribbean – the line's closest competitor – NCL also attracts multi-generational groups and families who flock to its amenity-filled vessels: onboard, you'll find everything from water slides to go-kart tracks, miniature golf courses, climbing walls, and a cornucopia of children's clubs aimed at keeping little ones entertained and occupied.
But NCL doesn't just fit the bill for families. The line's top-notch evening entertainment – expect immersive shows celebrating music legends like Fleetwood Mac – live music bars, lounges and casinos entice couples too.
Solo travellers are no mere afterthought either: NCL was the first cruise company to build ships with staterooms and lounge areas designed specifically for solo travellers. It now offers 1,000 solo cabins across the fleet.
What unites NCL guests is their belief that bigger is better: while the line does have a few smaller ships, the overwhelming majority are huge vessels that are essentially giant playgrounds.
Subtle? As the colourful hull art across NCL's fleet attests, the line doesn't know the meaning of the word.
3. NCL's fleet
There are currently 20 ships in the fleet. These can be divided into 10 classes (or groups), which are as follows: Breakaway Plus, Breakaway, Prima, Prima Plus, Epic, Jewel, Pride of America, Dawn, Sun and Spirit.
Breakaway Plus
Norwegian Encore (3,958 passengers), Norwegian Bliss (4,010), Norwegian Joy (3,776), Norwegian Escape (4,218)
If you're a fan of floating-resort-style vessels packed with plenty of places to eat and a plethora of ways to party, then Breakaway Plus – stretched versions of the line's Breakaway ships – is the NCL ship-class for you.
These monster ships offer a dizzying array of amenities – from gargantuan go-kart tracks to water slides, vast spas, state-of-the-art theatres, and a staggering 20 restaurants.
Should the prospect of thousands of fellow guests seem overwhelming, the Haven – a high-end ship-within-a-ship concept – offers a quieter and more luxurious environment.
Sails to
Alaska, Europe, the Caribbean, Panama Canal, Canada and New England, South America
Breakaway
Norwegian Getaway (3,903 passengers), Norwegian Breakaway (3,903)
Breakaway-class ships are similar to Breakaway Plus-class ships, only slightly smaller.
The two ships came with plenty of firsts including a full-size ropes course, a large water park and cabins designed specifically for solo travellers.
What you won't find onboard a Breakaway-class ship is peace and quiet: these mega ships, much like their Breakaway Plus-class siblings, accommodate close to 4,000 passengers at full occupancy.
Sails to
Bermuda, the Caribbean, Canada and New England, the Mediterranean
Prima
Norwegian Prima (3,099 passengers), Norwegian Viva (3,195)
Norwegian Prima and Viva are noticeably smaller than the line's behemoth Breakaway-class ships, but are still packed with places to play – from go-kart tracks spread over three decks (an industry first) to a theatre that transforms into a vibrant nightclub.
But Prima and Viva aren't all about over-the-top entertainment. Both ships are more upscale than their predecessors – something reflected in the number of suite categories (13) available to passengers.
Sails to
Europe, the Mediterranean, the Caribbean, Bermuda, transatlantic
Prima Plus
Norwegian Aqua (3,571 passengers)
The first vessel in NCL's new Prima Plus-class, Norwegian Aqua is 10 per cent larger than its predecessors, Norwegian Prima and Norwegian Viva.
The ship has hit the headlines for its Aqua Slidecoaster – a thrilling combination roller coaster and water slide – but there are a number of other new activities onboard too including Glow Court, a new digital sport complex with an LED floor; plant-based dining venue Planterie; expanded pool area, NCL's first ever Thai restaurant, Sukhothai; and Revolution, an immersive productionset to the music of Prince.
Sails to
The Caribbean, Bermuda
Epic
Norwegian Epic (4,070 passengers)
With its blockish design, Norwegian Epic has long been described as one of the ugliest cruise ships around.
Some of its cabins have also come in for criticism due to the fact that the sink is situated next to bed, while the en suite has been replaced with separate shower and toilet cubicles.
It's little wonder, then, that the line cancelled plans for a second and third ship in its class.
Nonetheless, Norwegian Epic has won a legion of fans thanks to innovative features like an ice bar, tube-and-bowl water slide, and a three-lane bowling alley.
Epic was also the first cruise ship to introduce solo studio cabins in a bid to make a holiday at sea more attractive and – crucially – affordable to those travelling by themselves.
Sails to
The Caribbean, the Mediterranean
Jewel
Norwegian Gem (2,344 passengers), Norwegian Jade (2,352), Norwegian Pearl (2,344), Norwegian Jewel (2,376)
Introduced in 2005, Norwegian Jewel was the first of the new namesake class. Norwegian Pearl and Norwegian Jade followed the subsequent year, with Norwegian Gem completing the lineup in 2007.
The fab four offer many of the benefits of being onboard a larger ship – live entertainment, a cornucopia of bars, restaurants, and lounges, and multiple pools – but without the crowds you'll find on Prima, Breakaway Plus, and Breakaway ships.
Sails to
Alaska, Asia, Bermuda, Canada and New England, the Caribbean, Panama Canal, Europe, the Mediterranean
Pride of America
Pride of America (2,150 passengers)
Refurbished in 2022, Pride of America is staffed by a predominantly American crew – a stipulation of ships that sail exclusively in US waters. And, in keeping with local Hawaii regulations, it's also the only NCL vessel not to feature a casino.
What you will find onboard, however, are hot tubs, saunas, an open-air swimming pool and bars including Pink's Champagne Bar and Waikiki Beach Bar – where you can order an expertly-made Mai Tai, Hawaii's most famous drink.
Sails to
Hawaii
Dawn
Norwegian Dawn (2,290 passengers), Norwegian Star (2,298)
NCL's two mid-sized, Dawn-class ships both offer plenty of things to do – from golf driving nets to whirlpools, a spa, and speciality restaurants including Cagney's Steakhouse and French favourite Le Bistro – without being overcrowded.
All of which means that if you're looking to bridge the gap between an intimate-sized vessel with bags of character but few facilities, and a mega ship offering every amenity under the sun but hosting hordes of people, the Norwegian Dawn class could be the answer.
Sails to
Europe, the Mediterranean, the Caribbean, Bermuda, transatlantic, South Pacific, Africa, Asia, Alaska, Hawaii, Panama Canal
Sun
Norwegian Sky (1,944 passengers), Norwegian Sun (1,878)
Launched in 1999 and 2001 respectively, Norwegian Sky and Norwegian Sun are among the oldest and smallest ships in NCL's fleet.
As with all NCL ships, there are swimming pools, whirlpools, a jogging track, basketball court, casinos and theatres that stage nightly shows.
However, Sun-class ships lack the over-the-top attractions that the line has become synonymous with in recent years: think virtual-reality gaming and go-kart race tracks.
To this end, they tend to attract passengers who don't need all the bells and whistles and favour a port-intensive sailing.
Sails to
Africa, Alaska, Australia and New Zealand, Asia, Canada and New England, the Caribbean, Europe, Hawaii, the Mediterranean, Panama Canal, South Pacific
Spirit
Norwegian Spirit (1,972 passengers)
The line's oldest ship, Norwegian Spirit, is also its smallest – and consequently appeals to passengers after a more intimate version of NCL's offering.
Due to its smaller size, Norwegian Spirit has fewer facilities and amenities than the line's newest vessels but there's still plenty to keep you entertained onboard – from multiple pool areas to a plethora of restaurants and bars, a basketball court, casino, jogging track, spa, nightclub and theatre.
Sails to
Alaska, Asia, Australia and New Zealand, South Pacific, Hawaii
4. Loyalty scheme
Latitudes is NCL's loyalty programme, and it has seven tiers. The more you sail with NCL, the more points you'll accrue. Points can be converted into perks, which range from discounts on shore excursions to complimentary meals at speciality restaurants.
5. Access for guests with disabilities
NCL says that it 'is committed to providing inclusivity and access to world-class holiday experience' and asks guests to complete its accessibility and medical questionnaire in advance. A trained member of the reservations department will then get back to you to discuss the various options.
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A gang of young dancers, their black costumes offset by colourful hats, cascade down the sloping roof of Oslo's opera house for a jubilant routine to a Prince song by the waterfront. The building's huge glass facade has become an unlikely stage for sculptures, digitally scanned from dancers' bodies, positioned as if they are plunging into the building like the nearby bathers in the fjord. Inside, there's an eclectic bill of ballets including one inspired by a painting from the Edvard Munch museum next door. In the wings of the theatre is an installation drawing on the Buddhist Zen symbol ensō. The studio space is screening short films veering from slapstick to the profound. But this sprawling festival, spanning more than two weeks and then partially touring, has a singular focus. These are all works by Jiří Kylián, the Czech choreographer-cum-renaissance man, who in one pre-show discussion declares himself 'the happiest boy in the world'. There has never been such a celebration of his work and, he suggests with wry self-effacement, there will probably never be another. When we meet for coffee, Kylián elaborates on the opportunity given to him by Ingrid Lorentzen who, as artistic director of the Norwegian National Opera and Ballet, enabled the festival. 'I'm not a spring chicken,' he says. 'I'm 78 and I know that the end of life is nearing. To be able, at my age, to have a major retrospective, but also show new things that I've created specifically for this festival, is huge.' After a choreographic career spanning around 100 pieces (a quarter of them now in the Norwegian Ballet's repertory), it has brought a degree of affirmation, he says. 'I must have done something right! I'm not a particularly confident person. It might look like I am, but I'm not really.' With an impish smile, he adds: 'If I had to write reviews about my work, you would not want to read them. I don't get so easily frightened by critics because I'm my worst critic.' There's a pause before reconsidering: 'My mother was, actually …' He trails off and winces in mock horror at her feedback: 'If you do something like that one more time, I will disown you!' However, it was Markéta Kyliánová – a former child star – who directly inspired her son. 'She was a Shirley Temple. A 10-year-old who sold out performances, dancing by herself, with her father accompanying on piano. So it must be somewhere in the genes.' Growing up in Prague, Kylián was swept away by the magic of circus acrobats, became a dancer and began to choreograph. Britain played a key part in his success. In the mid-60s, Jennie Lee – the first minister for the arts in Harold Wilson's government – visited the Prague conservatoire and saw one of his earliest works. Kylián remembers her saying to him: 'I can see that you do not only have it in your legs, but also in your head.' A scholarship at the Royal Ballet School was arranged. 'I met Margot Fonteyn, Rudolf Nureyev, I had the time of my life,' he remembers of his stint in London. John Cranko invited him to work with the Stuttgart Ballet and then Kylián led Nederlands Dans Theater as artistic director from 1975 until 1999, continuing to choreograph for the company until 2009. But this 'Praguer' who has long lived in the Hague is being feted in Oslo. 'I was introduced to this country by a composer, Arne Nordheim, who wrote music for me,' he says. The Norwegian Ballet has been staging Kylián's work for almost 40 years. Oslo's long-awaited opera house opened in 2008 with his ballet programme. 'There is no other house in the world' that could put on this festival's installations alongside the performances, he says. Those sculptures bisected by the glass facade, modelled on eight of his dancers and rendered at 138%, provide another way to invite new audiences into this most playful of opera buildings whose openly accessible roof is a popular vantage point. The figures' positioning, part inside and part outside, brings to mind the uprooted, upside-down tree that is suspended above the stage in Kylián's Wings of Wax (1997) and continues his interest in transitional states. His choreography frequently gives dancers a winged position like resting marionettes – as in Petite Mort (1991), their heads bowed, shoulders hunched and elbows out, evoking a burden but also an imminent launch to liberation. Entitled Wings of Time, the festival is promoted with a poster of Kylián as if taking flight, with one arm raised alongside its reflection, the image mirroring an airborne gull in the distance. 'We are on the way constantly,' he says of this impulse in his work. 'I say 'now',' he pauses, 'and it's already in the past.' The other installations on display evoke not just Kylián choreography but his previous productions' set designs. In the meditative, healing Ensō, set to Arvo Pärt's Spiegel im Spiegel, a mirror rotates above a calligraphic circle on the floor, casting shadows as well as a latticed light, the mirror rippling with the foaming crash of a wave that recalls the silvery wreckage of John Macfarlane's set for Forgotten Land (1981). It is that piece, opening with the sound of the wind and featuring a storm of dancers' feet and elemental percussion, that draws on the century-old Munch painting The Dance of Life. Munch's depiction of a woman at three ages – enigmatically wistful in youth, solemn in middle age, eventually mournful – gave Kylián goosebumps when he first saw it. 'Munch was a troubled soul – that kind of fight with the canvas and with your own problems, it beams out of the paintings,' he says. 'I tried to portray it as well as I could with Benjamin Britten's music.' The exhibition's use of backstage areas is fitting for a choreographer who has often challenged notions of where the playing space – and even a production itself – starts and finishes. No More Play (1988), uncannily set to Anton Webern, finds a dancer rolling across the very edge of the stage, arms spiralling into the orchestra pit, and ends with the full cast dangling there. Bella Figura (1995) begins when the audience are still finding their seats as dancers rehearse their moves, Kylián taking the stage to make the odd tweak. The performance gives a supporting role of sorts to the theatre's layered curtains which in one illusion seem to hold a dancer in mid-air and are used for an effect akin to an iris film technique, framing certain dancers and obscuring others. Kylián plays with other silent cinema tricks in a quirky screen programme featuring his long-term partner, the dancer Sabine Kupferberg, who makes a superb bowler-hatted clown in the short film Between Entrance and Exit from 2013. (That title is telling for a choreographer who loves to bring dancers on in eye-catching ways, such as under billowing sheets.) Amid his elegantly fluid explorations of time and space, and his dancers' sensitive partnering, Kylián can rarely resist a comic moment or trompe l'oeil gag such as the freestanding dresses with a mind of their own in Petite Mort. He tells me about his joy at once spotting John Cleese in a restaurant. 'I went to him and said, 'Dr Livingstone, I presume?'' Cleese immediately played along. ''Yes, absolutely!'' Kylián told him: 'I'm a choreographer and I was inspired by your Ministry of Silly Walks.' Is that really the case? 'Of course! The Czechs have a pretty good sense of humour. They're really pretty crazy.' His own sense of humour remains intact when we discuss his 'more than catastrophic' reception from London's dance world. That auspicious-seeming arrival in the 1960s was followed by 'totally negligible' representation of his works and what he calls the 'Royal snub' in the years since his choreographic debut at Covent Garden. In 2022, Forgotten Land was staged by Birmingham Royal Ballet and his piece Gods and Dogs was performed in a mixed bill by NDT at Sadler's Wells. But he picks up his tablet and shows a calendar of upcoming Kylián productions. 'This is where they are doing my ballets in the world.' Dates come up for South Korea, Poland, the US, Albania … 'Anywhere except Great Britain! I even got the Laurence Olivier award [for outstanding achievement in dance with NDT in 2000]. That didn't do the job.' Maybe it's not for him to answer but does he know why? He leans over and whispers: 'I have no idea!' If Kylián is his own fiercest critic then the late Clement Crisp of the Financial Times came a close second. 'I don't mind to be criticised, but I don't like to be insulted particularly,' he says of Crisp's vociferous reviews, then paraphrases the kind of writeup he used to receive in London. 'The first piece was by Ashton, it was like that and like that. The second piece was by Kylián, we don't need to talk about it. And the third one was by Balanchine, it was great.' How did he find running NDT for such a long stretch? The company rocketed under his leadership but balancing the roles of choreographer and artistic director was surely draining. 'It's really rough. I'd want to do a piece for six dancers and I had 32 dancers in the company. You know what happened? Six happy people and 26 unhappy people. You have to cope with it.' As well as choreography, he has often provided his own design concepts including, unusually, for the lighting. 'A terrible ballet well lit is better than a great ballet badly lit,' he says. 'I work very closely with the lighting designers and set designers and composers. I'm one of those who sticks his finger in!' He assesses one of the pieces revived in Oslo. 'The choreography is old, OK, it has maybe a bit of an old-fashioned touch. But it fits completely with the music, the choreography and the stage design. If you like it or not is another story. But it fits. It's made of one mould.' His approach to the music has changed over the course of his career. 'When I was young, I got inspired by a piece of music and tried to do steps as closely to it as possible. But later that wasn't enough. I have things to say myself.' He did not seek to reflect 'what the music is already saying' but rather add another layer. Later on, composers would create specifically for him. 'What I do usually is take an existing piece, something extraordinarily beautiful by Beethoven or Mozart or baroque. And then give it to a composer and he recomposes it. I like this bridge between the past and the contemporary.' In Chapeau, the piece performed as a flashmob by the dance students tumbling down the opera house roof, he doffs his hat to Prince. 'I love him. Genius. You know, he was in Holland and I was too shy to approach him and then he died a year or so after.' Chapeau was created for the silver jubilee of the hat-loving Queen Beatrix of the Netherlands, where Kylián still resides. He and Kupferberg have been shooting a film on the Dutch island of Terschelling and he sees his future in such projects and visual art rather than creating new work for the stage. 'I'm really getting on. The energy is not enough.' We consider the chicken-or-egg question about the choreographer's job of matching music and movement. Kylián recalls creating a duet for Whereabouts Unknown (1993) to be used with Charles Ives's piece Unanswered Question. 'I choreographed it on a Sunday and did the whole six minutes in one day. Then I said, OK, let's try it with the music now. It fit like a glove: they stopped dancing exactly at the end of the music. Sometimes I really don't know how or why things happen. I look at it and think, I'm not sure if it's by me.' He gives me a slightly bashful look about this mysterious, even mystical process which he manages to suggest with both modesty and curiosity. 'I felt like it was said through me.' Kylián festival: Wings of Time is at Oslo Opera House until 14 June. Then touring 18-22 June. Chris Wiegand's trip was provided by the festival.