There is a full-size ice rink aboard Symphony of the Seas. This fact still surprises people who haven't sailed on an Oasis-class ship before, and 1977 is the production built to make the most of it. The show follows Tempus, a time-traveling detective, and his assistant as they pursue the infamous jewel thief Black Max across London in 1977, during the Queen's Silver Jubilee, and then around the world as the trail leads through increasingly spectacular set pieces.
The story
The plot is the thinnest part of 1977, and the production knows it. The narrative exists primarily as scaffolding for the skating sequences rather than as something to follow closely. Tempus and his mission give the show shape and a loose sense of momentum, but you're really there for the skating and what surrounds it. That's not a criticism. It's the right set of priorities for this format, and the show is honest about what it is.
The drone sequence that opens the show is genuinely unexpected. The audience doesn't know what's happening for the first few seconds, and then it clicks. The reaction is immediate.
The drones are the production's signature moment. A formation of illuminated drones performs a choreographed sequence above the ice as part of the opening, using visual projection technology across the rink surface simultaneously. The combination of the physical staging below and the aerial light show above creates something that feels unlike anything else in the fleet. It's a technical achievement that earns its place in the show rather than feeling like a gimmick.
The skating
This is where the real case for 1977 gets made. The skaters are exceptional, performing at a level that would hold up in a standalone touring ice show on a ship that moves. The solo sequences, particularly in the second act, are where the technical ability becomes impossible to ignore. Lifts, spins, and footwork that demand full attention, in costumes that match the period aesthetic without restricting the performance.
The production also uses visual projection across the Studio B walls and ice surface to extend the set design in ways that a physical build couldn't achieve in this space. The transitions between locations are handled through projection rather than set changes, which keeps the pacing tight and avoids the dead time that breaks the spell in lesser productions.
Verdict
Pre-book it. The storyline asks you to meet it halfway, but the skating talent, the drone opener, and the projection work more than justify the time. It's consistently one of the most technically polished shows across the entire fleet and it gets better on a second viewing once you know the structure and can watch the skating without tracking the plot.
The 0.4 it loses is on the storyline, which asks more of your investment than it earns. The skating and production design are as close to flawless as this format allows.