logo
A first look at the $1 billion MSC World America cruise ship, from thrill-seeking rides to Dirty Dancing

A first look at the $1 billion MSC World America cruise ship, from thrill-seeking rides to Dirty Dancing

Independent30-04-2025

My feet are dangling 50 metres above the sea. I feel like a child again as a metallic red swing rocks me back and forth, offering an unrivalled view of the Atlantic Ocean below.
In the highly competitive world of megaships with their ever-competing theme park-style attractions, the Cliffhanger ride I am sitting in is among the many incredible features aboard MSC World America – the newest ship to join the Italian cruise brand's fleet.
With my hand gripping the red safety bar in anticipation, the swing slowly rises and there is a sudden 'whoosh!' as I am pushed out over the ship's edge. My heart is thumping and there is nothing but air and sea beneath me – I feel like I'm flying.
I was among the first passengers to sail aboard MSC World America from its new hi-tech Miami cruise terminal – where face scanners and biometric e-gates have been installed to speed up the boarding process – to the brand's private Bahamas island, Ocean Cay.
The $1 billion cruise ship is the second in MSC's World Class series, which started with World Europa in December 2021. MSC World America looks set to dominate the US market with weekly Caribbean itineraries.
With a gross tonnage of 216,638 and with capacity for 6,764 passengers, 19 dining venues and 18 bars and lounges, MSC World America ranks as the eighth largest cruise ship in the world.
Anthony Paradiso, vice president of international sales at MSC, explained that the ship aims to combine European style with American-style comfort, and believes the vessel offers something for every kind of traveller.
Its 22 decks are named after major American ports and cities such as Seattle and Miami and the ship's godmother is actor and talk show host Drew Barrymore, who proudly cut the ribbon to christen the ship during our sailing.
MSC World America borrows plenty of style features from MSC World Europa, such as the sparkling chandeliers hanging from the ceiling of the World Galleria on deck 6; the light from these bounces off mirrored pillars and staircases, giving the feel of a swanky boutique hotel.
On the pool deck, cabanas provide much-needed shade from the Caribbean sun, and there are British plug sockets and USB-C ports in the cabins for modern smartphones.
However, it turns out that Americans may not love speciality tea as much as we Brits do, as the Raj Polo Tea House from MSC World Europa has been replaced with The Loft Comedy club on deck 8. Afternoon tea and soft furnishings have been replaced with bar stools and images of comedy legends Richard Pryor and Sarah Silverman.
The venue has the feel of a New York comedy club, with a faux brick wall backdrop and spotlights to illuminate the comedians. A wacky musical comedy act called Duelling Pianos gets the crowd singing along to interpretations of Brown Eyed Girl and American Pie; it makes a nice change from the traditional cabaret shows and singers that you tend to see on cruise ships.
Across the deck sits the only Eataly Italian restaurant at sea, which, sadly, is so highly anticipated that it was closed for private events throughout our sailing. However, on peering in, the bright decor inside transports you to a traditional pizzeria on the Amalfi Coast – albeit scrubbed-up – while floor-to-ceiling windows provide amazing ocean views.
Given MSC's Italian roots, it is no surprise that there is more Mediterranean food to be found on board. The new Paxos restaurant at the outdoor World Promenade is a place where you need to be careful not to fill up on starters such as warm pitta bread topped with hummus and taramasalata. The mains include melt-in-the-mouth feta pastries, hot from the oven, or succulent seared tuna.
American-style food is found opposite Paxos, in the new All-Stars Sports Bar. Think juicy burgers dripping with cheese and BBQ sauce. This is a speciality restaurant, but in my opinion, the burgers are well worth their $10 price tag.
Elsewhere on deck 20, the racing waterslides and Venom dry slide showcase the bigger-is-better American way of doing things. And where on MSC World Europa there is a quiet space for sunbathing, on MSC World America, the space is given over to The Harbour, where a festival atmosphere prevails.
Pop music plays as passengers jump around its pirate-style playgrounds, high ropes and waterslides, and there is a snack bar serving hot dogs and Jamaican patties; no need to traipse to the buffet for sustenance.
Deck 20 is also where I find the adrenaline rush of the Cliffhanger ride, and also nervously launch myself into a shark's mouth for the ship's Venom ride equivalent, Jaw Drop, a spiralling dry slide where screams of joy echo around the ship as you hurtle down 11 decks. Top tip: it can be a faster mode of transport than the lifts during busy periods.
The 4D cinema on board MSC World Europa has also been ditched, making way for a larger arcade in the popular Luna Park. Similarly, the bowling alley – where rough sea days made it hard to play successfully (at least that was my excuse) – hasn't made it onto MSC World America.
Instead, there is space for three cars instead of two in its F1 simulator ride – though that didn't make me a better racing driver.
MSC has also gone big with entertainment, bagging the rights for Dirty Dancing: In Concert as its flagship show in the World Theatre.
In the show, singers performed hits from the classic 1980s film, such as Do You Love Me and Time of My Life – accompanied, of course, by the iconic lift scene. It's a nostalgia-filled performance that made me want to try out my own Swayze-style moves across the dance floor.
We caught a preview, but the full version of the show will feature a band and performers who sing and dance along to the film playing on stage in the background, in true immersive Secret Cinema-style.
The 1980s theme continues at the aft of the ship at Panorama Lounge, where performers in the Queen Symphonic show perform to an incredible orchestra backing track.
Clapping our hands and stomping our feet to We Will Rock is the perfect end to our trip – a fun-filled, rollicking ride that would be fun for all the family, even if you do find yourself dangling sky-high over the deep blue sea.
A seven-night Caribbean cruise aboard MSC World America, departing from Miami, starts at £770pp, based on a 17 May 2025 departure; flights not included.

Orange background

Try Our AI Features

Explore what Daily8 AI can do for you:

Comments

No comments yet...

Related Articles

Restaurant bosses stunned as Hollywood legend stops by while filming new movie in Glasgow
Restaurant bosses stunned as Hollywood legend stops by while filming new movie in Glasgow

Scottish Sun

time7 hours ago

  • Scottish Sun

Restaurant bosses stunned as Hollywood legend stops by while filming new movie in Glasgow

Click to share on X/Twitter (Opens in new window) Click to share on Facebook (Opens in new window) A GLASGOW restaurant was left shocked after a Hollywood legend stopped by while filming his new movie in the city. Streets in the city centre have been transformed for the filming of the upcoming Sci-Fi flick Ghostwriter. Sign up for the Entertainment newsletter Sign up 6 Director JJ Abrams in Glasgow Credit: Splash 6 Hollywood star Glen Powell has also been spotted Credit: Tom Farmer 6 Upcoming sci-fi film Ghostwriter is being filmed in Glasgow Credit: Tom Farmer 6 Scenes have been shot on Bothwell Street Credit: Tom Farmer Shopfronts have been completely redone to be part of the futuristic world while prop cars trundle around the streets. The film follows an author who reveals the fictional world he created is actually a real place and is being directed by legendary filmmaker JJ Abrams. And making a Hollywood blockbuster is clearly hungry work as the director stopped by for a bite to eat at a local restaurant. A lot of the city centre filming has been taking place on Bothwell Street. So the filmmaker didn't have far to stroll as he popped into Sarti's Italian restaurant on Bath Street on Thursday night. He posed with two of the staff after tucking into his meal. They proudly shared their encounter with the famous face on their social media. A post on their Instagram read: "A Special Visitor at Sarti! "We had the pleasure of welcoming @jjabramsofficial to Sarti Bath St! "He's in Glasgow filming his new movie Ghostwriter and popped in for some proper Italian hospitality. Hollywood hunk spotted on Glasgow street as filming for major blockbuster gets underway "Here he is with Renato & David – thanks for stopping by, JJ!" Hollywood has well and truly come to town as Ghostwriter filming gets underway. Several roads around the city centre have been closed down because of the movie. Top Gun: Maverick star Glen Powell was seen filming on Bothwell Street earlier this week. 6 JJ Abrams visited Italian restaurant Sarti on Bath Street Credit: Instagram Some scenes involving a futuristic bus have also been filmed underneath the Kingston Bridge. Parts of Edinburgh have also been used for the movie. Ghostwriter is set to have an A-list cast when it hits cinemas next year. Twisters hunk Powell will be joined by Wednesday star Jenna Ortega in the flick. And Hollywood icon Samuel L Jackson is also said to have been cast.

'I reached 4st 7lb and was told I had two weeks to live.' A-list artist LUCY SPARROW on her anorexia battle
'I reached 4st 7lb and was told I had two weeks to live.' A-list artist LUCY SPARROW on her anorexia battle

Daily Mail​

time9 hours ago

  • Daily Mail​

'I reached 4st 7lb and was told I had two weeks to live.' A-list artist LUCY SPARROW on her anorexia battle

On artist Lucy Sparrow's left wrist, beneath a huge, diamanté-studded imitation Rolex crafted from felt, is a tattoo that reads: 'Don't forget to eat your lunch and make some trouble.' The 38-year-old had it done after leaving the Promis Hay Farm clinic in Kent last year, where she was treated for anorexia so severe she came close to losing her life. Now, it serves as a daily reminder to her: 'To make your art, you need energy,' she says. Quirky, joyful and wildly ambitious, Sparrow's work has made her a leading light of a new generation of British artists. Her immersive installations, built to look like real shops and filled with thousands of everyday items, from baked beans and McCain oven chips to Rimmel make-up, all painstakingly hand-stitched from felt, have won rave reviews from critics and audiences alike. At Buckingham Palace, where she installed a felt picnic spread to mark the late Queen's Platinum Jubilee, King Charles, no less, asked her how she made her salt and vinegar crisps so realistic. (She replied she hand-painted each one with PVA glue and then let them dry outside in the sun.) In the US, celebrity admirers include Drew Barrymore and Mark Ruffalo, the latter even queueing patiently for her exhibition at New York's Rockefeller Center to tell her how much he loved it. Yet behind her soaring career, Sparrow was hiding the eating disorder she'd been battling for decades. 'I've been through periods of recovery in my life, where it's been secondary to other things, but it's always been there in the background,' she says. 'Then last year, I stopped being able to eat altogether.' Today, she's curled up with her felt replica banana, which she named Sebastian. Wearing a pinafore dress and white tights, Sparrow appears childlike. Which seems appropriate for the maker of soft, fuzzy, nostalgia-infused pop art. But she's also both smart and brave, speaking with candour about her ordeal. 'I want to tell my story,' Sparrow says. 'There's a saying in the support meetings I go to: 'Secrets grow in the dark and shrink in the light.' The more we bring them out, the less power they have. I've hidden it for so long, but I don't want to be ashamed of it any more.' Sparrow grew up in Bath, where her mum taught her to sew at four and bought her felt to make her own toys. 'I was instantly obsessed with making replicas of objects,' she says. 'I knew from when I was tiny that I wanted to be an artist.' Academically gifted, she won a scholarship to a prestigious private school, but in its high-pressured environment her mental-health struggles began. 'It was an extremely privileged world, and I was looked down upon,' she says. 'But I was also very grateful to be there and worked really hard, so it was incredibly intense.' First, her anxiety manifested as obsessive-compulsive disorder, or OCD. 'I was terrified of germs, and I'd bleach my hands and boil my toothbrush,' she says. By the age of 13, this was spilling over into restricting the food she ate, including 'meat, eggs, anything that could make me sick'. When she noticed herself losing weight, 'I started falling down into this abyss,' she says. 'It was nothing to do with how I looked; with anorexia, all you want to do is destroy yourself, to disappear.' As her weight plummeted, the school instigated regular weigh-ins, which she cheated with stones in her pockets and by downing litres of water. She attended an eating disorder clinic as an outpatient and underwent weekly NHS therapy with her family. She describes the approach back then as, 'Very accusatory. 'This is all your fault, you must not want to get better.' It made me feel so alone, because I wasn't doing it on purpose. The closest thing I can liken it to is being possessed by a demon.' Eventually, at 16, she weighed just 4st 7lb and doctors at the clinic where she was an outpatient told her she might have as little as two weeks to live. If she dropped even the tiniest amount more, she would be sectioned and force-fed. 'I knew I didn't want to die,' she says. Instead, she dropped out of school, enrolled at the local tech college to study art and slowly, gradually, began to eat again. 'My weight was restored, but mentally I was still ill,' she says. 'I was running on manic energy, my OCD was off the charts and self-harming became my outlet.' She managed six months at University Arts Bournemouth before realising that she couldn't continue. Then, knowing she wanted to make art full time, she took a radical step to earn enough to support herself: for five years, she worked as a stripper in nightclubs in Brighton and London. She called herself Roxy and looked 'very alternative, with my glasses on', chatting to customers between dances. It had another, unexpected, benefit: 'It actually stopped me self-harming and starving myself, because I had to show my body.' In 2014, she broke through as an artist with The Cornershop, which began as a Kickstarter campaign and went viral after opening in an abandoned shop in London's East End. Each of the 4,000 felt items on the shelves were for sale, with prices starting at £1 for a lottery ticket and Sparrow herself staffing the till. 'I couldn't believe there were queues around the block,' she says. 'I sold the shop 40 times over.' Since then, her projects have included a faux sex shop in London's Soho in 2015 titled Madame Roxy's Erotic Emporium; in 2019, Lucy's Delicatessen at New York's Rockefeller Center; and, in 2021, a fully stocked pharmacy, The Bourdon Street Chemist, at London gallery Lyndsey Ingram. Sparrow describes making her art as 'escapism, Prozac-like: a wonderful gentle hug'. It has always been the one thing capable of calming her busy mind. Last year, however, her refuge contributed to her relapse. She was working 18-hour days and travelling a lot; then, when her two-year relationship with a restaurateur ended, she isolated herself. 'Almost overnight, I thought, 'I'm going to go fully back into my eating disorder, because I have no one to stay normal for,'' she says. 'I didn't have proper treatment as a teenager, and the relapse was a long time coming. It was always going to happen when a major life event tipped it over the edge.' Sparrow quickly lost a dangerous amount of weight, terrifying her loved ones. 'I could normally shake myself out of it and force myself to eat, but I lay in bed, my heart racing, and I realised I'd completely lost all control,' she says. 'It had me by the neck.' She found the private clinic Promis Hay Farm online and checked in, a decision that would save her life. For ten weeks, Sparrow had intense therapy, funded by the success of her art. 'So many pieces of the puzzle fell into place,' she says. 'There's a strong history of mental illness in my family, so there was trauma that I had never dealt with. I realised it wasn't my fault, and that it was a form of addiction, but that I also needed to take responsibility. How I moved forward was my choice.' Addressing the deeply ingrained, obsessive behaviours that had allowed her anorexia to flourish was a major step. Another turning point was when she realised the link between her eating disorder and the theme she returns to most often in her work: food. 'My art had become an elaborate coping mechanism to mask difficult emotions,' she says. 'I was so avoidant of food, so hungry, I'd become obsessed with it. I realised that with my art, I was feeding myself food that wasn't real, and that's how I managed to starve myself for so long.' Sparrow now has a team of six full-time staff working with her at her Felt Cave studio in Sudbury, Suffolk. Next month her new installation, The Bourdon Street Chippy, an immersive fish and chip shop comprising more than 65,000 pieces, opens back at the Lyndsey Ingram gallery in Mayfair. Each item will be available to buy, with prices as reasonable as ever – although pieces from her previous collections sell for tens of thousands at auction. Her recovery has been steady, but Sparrow will never take it for granted. 'I'm not saying it's easy or enjoyable,' she says. 'But my goal is to be so recovered that I can tell people going through this level of hell that there is a way out.'

The cult of the farmer's market
The cult of the farmer's market

Spectator

time12 hours ago

  • Spectator

The cult of the farmer's market

Farmer's markets are a very cheeky wheeze and we all know it. Their promise – getting back to peasants' basics of veg yanked from the ground – carries a hefty premium compared to supermarket food, which actual peasants have to buy. Indeed, supermarket food, from veg and fruit to eggs and cheese and bread, is generally two or three times cheaper and tastes just as good. But it seems that we are already in a world so dystopian that only the rich want – and can afford – soily spinach sold loose on a table. Certainly, the rich will queue for sorrel and strawberries, yoghurt and kimchi, raw milk, chicken and sourdough. Especially the sourdough. Carbs used to be bad, but now the queue outside places such as Lannan in Edinburgh is so long that the bakery has had to employ bouncers to control it. At the mouth of the Queens Park farmers' market in north-west London – one of the most Instagrammed north of the river – is Don't Tell Dad, a sprawling café with sourdough loaves and circular candied hazelnut croissants. These generate queues along the pretty cobbled road that are so off-putting that I will only go when it's pouring with rain and nobody's out. The sourdough at Dusty Knuckle in Hackney has to be booked well in advance. Pastry and bread is the treat that leavens the purchase of greens; so very many greens. My thinking about markets has been shaped by travel. I have realised I hate foreign food markets. I always went because the internet said I had to and because the cosmopolitan middle-class milieu I inhabit has a reverence for local produce that is hard to override, even with cynicism and empty pockets. The worst of my life were the markets in Sicily and Jerusalem. Palermo left me traumatised; tourists are baited and mocked as they timorously look at this or that vendor's mound of veg. I came away with some tiny bag of exotic olives for €10 that should have cost €1, feeling a pathetic fool. I have even seen native Italian speakers ripped off in Sicilian markets. Sellers demand that customers speak the dialect or else face bald exploitation. It seems a bad sales strategy. And yet, so slavishly do we want what these scoundrels are selling – or rather what they represent – that it doesn't seem to do them much harm. Compared to the incomprehensible shouts of Mediterranean hawkers, the English farmers' market is, of course, a blessed relief. At least I speak the language and don't have to conjure the price of a third of a kilo of sardines while a greasy man is shouting at me. There is no shouting, no bargaining and no vernacular. Many of the people at the stalls aren't even English. The other great insult of the market, the sheer cost, has lessened over the past few years. Since the cost of living has shot up, the gap between the prices of greenery, eggs and fruit at the farmers' and the supermarket has narrowed. On my most recent visit to the former, I fell for a rather wilted bunch of coriander for £2 (compared to 90p in Waitrose), and £2 for a small bunch of spinach, but the strawberries – decking every table as far as the eye could see – were quite good value, at two punnets for £5. These velvety strawbs were superior by far to Waitrose's best organic efforts at £4 (an admittedly slightly heavier punnet). I have always found the idea of seasonal cooking imprisoning Then there are the health considerations. As I have got older, and pore over articles and videos about microplastics and forever chemicals, the farmers' market has a new appeal. If I buy my vegetables in brown paper bags and eat things that haven't been sprayed too much, perhaps they will be better for me. I have always found the idea of seasonal cooking imprisoning; surely one of the glories of late modern capitalism is that we have become free of nature's strictures, and can eat pineapple and avocado and coconuts all year round. Why should I limit myself to courgette and asparagus in spring, tomatoes in August and apples in autumn? Why go gaga over gooseberries for two weeks in June? It's like going to bed when the sun sets and getting up when it rises. No thank you. Seasonal veg remains of little interest to me (is there really a difference in taste between a Spanish courgette in January and a Kentish one in May?), but seasonal fruit, I now admit, is delicious, even if it's of the provincial English type. Once you accept the homegrown tastes of dark red stone-fruit after the exotica that our globalised palates are used to, you can begin to enjoy the fruits, if not the cost, of shopping at the farmers' market.

DOWNLOAD THE APP

Get Started Now: Download the App

Ready to dive into a world of global content with local flavor? Download Daily8 app today from your preferred app store and start exploring.
app-storeplay-store