Ride the Cyclone - Review
- megkiddle4
- Jun 6
- 6 min read
It's just a ride. But what a ride!
I was honoured to be invited to the preview of Vox Theatre Arts' production of Ride the Cyclone during the week. What a show! 90 minutes of utter organised chaos, comedy, music, drama, darkness and soul searching! This is an unmissable show with a limited season at Beenleigh's Tin Shed (home to Phoenix Ensemble). It is a collaboration between Phoenix After Dark programme and the emerging Brisbane Theatre Company Vox Theatre Arts.
The musical premiered in 2008 is part 2 in a 3 part series (yet to be completed) by creators Jacob Richmond and Brooke Maxwell set in a small Canadian town theme park. This 90 minute (no interval) show will take you on a ride like no other. The story is told of a group of teenage St Cassian High School Choir members who have just taken their final ride on "The Cyclone” a carnival roller coaster. A freak accident results in them crossing over to a midway limbo. The mechanical Fortune Teller "The Amazing Karnak" (a beautifully created puppet in a games arcade style cabinet operated by Dan Konstantinos and created by he and Celeste Konstantinos ) is distraught that he did not have the opportunity to warn them of their demise; and since his life is soon to also be cut short; by a rat (played by Sari Rangiwai; also the bass player of the band) who will chew through his power source before the end of the show, offers them all the chance to tell their individual story for the ultimate reward – the gift of restored life. But only one can win... and so the stories begin.
We meet our characters; first through opening ensemble and then subsequent solo only to fall in love with every one of them through their very individual stories, during which fellow choir members become secondary characters (parents, other planetary folk, lovers) for each other. As each story unfolds we are given a nostalgic montage of pictures of the cast member from baby to current, with one noteable exception. Who is she? No-one seems to know.
The combined story unfolds as we hear of each character's past in song with effective use of the arch and revolve set centre stage. Dialogue provides us updates on the current situation and everyone's state of mind (which face it is not good when you've just found out you're dead).
Musically, this show doesn't fall into any one genre containing a wide variety of musical genre used for each character which adds obvious interest, levels and flavour. The score contains jazz, folk, hip-hop, pop, classical all cleverly written to compliment and identify the characters and their background. Something not lost on the talented choreographers Hannah Macri and Kirsten Brown who have cleverly matched each number accordingly; to define each personality and feature the performer's skill sets.
Each character presented in this production firmly held their place in the competition, every one deserving of the prize.
This is a strong ensemble and well cast, beginning with the over-achieving Ocean O'Connell - Rosenberg (Cameron Grimmett) who travels the longest emotional journey in her character development. From self absorbed mean girl; as she struts and brings intense bitchy commitment to "What the World Needs" to the final selfless conclusion. Grimmett constantly brings high level energy and strong vocal presence to the stage.
As Noel Gruber; the only gay man in Uranium, Isaac Brown is a stand out as he brings to life "Noel's Lament" with possibly the best legs in the biz and a smooth costume transition from youthful school boy to repressed post-war time cabaret/hooker. This role is so well suited to him and he played it perfectly with wistful seduction and passion.
Dom Bradley provided a delightfully, heavily accented (but thankfully understandable) Misha Bachinski and his comedic timing was always en pointe. "This Song is Awesome" was as expected, awesome, and a triumph for sound technician Luke O'Hagen bringing the auto-tuned element to the number with aplomb. This was an enthusiastic ensemble number that truly entertained. Misha later reveals his true softer nature in the heart breaking number "Talia" which was a highlight for me because the beautiful Clare Thompson who featured on video footage behind.
Ricky Potts played by Jack Barrett is a character that in life was mute, but in death is able to talk, suddenly play the accordion and reveal that his life was anything but quiet in his imagination whilst alive, as he brings the hilarious "Space Age Bachelor Man" to sparkling space-suited life; with some wonderful ensemble and choreography work from the rest of the cast performing as cat like humans from another planet.
Wandering opaque eyed and zombie-like through the show is Makenzi Goodwin playing the headless Jane Doe, a girl who doesn't remember a previous life and is not remembered by any of the other students. Karnak also doesn't remember reading her fortune. Who is she? It is no surprise that this is the stand out performance of the show for me. The iconic crossover style song "The Ballad of Jane Doe" is more than a simple melancholic ballad; requiring Jane to sing in a classical style then a warm Dixieland style jazz , finally bringing out the fireworks agility similar to a Christine Dae aria. It certainly is not for the faint hearted or untrained. Goodwin not only handled these demands well, she quite simply mastered it all, while being lifted and pushed around by her co-stars. This scene is also the visual highlight of the show being combined with spectacular choreography and technical effects taking us on a merry go round ride on brightly lit carousel horses, designed and constructed by Jay Reed, Kerryn Simons and Maddy Simons.
Our final tragic victim to share her story is played by Eloise Newman, the nicest girl in town Constance Blackwood. We are teased early on in the show that she has some darker secrets to share for which was are eager to find out but not revealed until nearer the end in an impassioned and heart wrenching monologue and her song "Jawbreaker/Sugarcloud ". She may well move you to tears as she vulnerably and tearfully reveals a life of self loathing. However, Newman also posses great comedic timing that offers a contrasting brightness throughout and we find many times to giggle with some of her timid but well timed sotto voce remarks; all of which balance incredibly well against her best friend; the angsty type A Ocean. Her powerhouse vocals throughout the show are consistently shimmering and delightful.
Every one of these characters deserves a chance to return to life but only one can be chosen. Karnak reminds them that time is limited as he has foretold his own demise and that moment is very near. The story resolves neatly and the audience is left thoroughly entertained and may also be wondering what they have just encountered. A well constructed show that contained comedy, darkness, despair and perhaps a little bit of something to identify with.
Director Rhona Bechaz has done a wonderful job in tying these individual stories together into a very entertaining show. She has brought the exact amount of pathos, humour, kindness, respect, despair, friendship and love to this stage in this well cast show. She has brought a thought provoking narrative to this stage. Vox Theatre may be the new kids on the block but they are full of passion to bring quality theatre to Brisbane and they are succeeding with this show.
Costumes designed by Lachlan Hall and Tamzen Hunter were effective with the expected school uniform aspect layered to allow for fast reveals into other characters. The use of additional items to portray the changes into other supporting characters created depth, colour and variety.
Musical preparation has obviously been meticulous from the dual MD team of Maddy Simons (vocals) and Alex Angus (band). There were some small balance and harmony issues heard from the vocal ensemble at times, but generally the vocals were strong and committed and will no doubt solidify as the season continues. The solo numbers allowed each cast member to shine and all were vocally well suited to their roles. The band (as always tucked away in the corner room) were absolutely stellar and tight in their delivery of the fun and full score. Angus has sourced and directed musicians who know what they're doing and excel under her direction. On Preview night there were a few lulls in the action while waiting on music segues but this no doubt will improve across the season.
Special mention for the beautiful featured mini proscenium arch, designed and constructed by Rhys Schwarten and Nikki Pearson in front of which much of the action takes place incorporating the innovative and effective revolve designed and constructed by Wilson Kong.
This is a top notch community production that displays a professional level attitude and deserves full houses every show. If you can find time to take the ride, do it, you'll enjoy it immensely.
Ride the Cyclone opens on Friday 6th June until Saturday 14th June at Phoenix Ensemble, Beenleigh Tin Shed.
(The evening shows are booking up solidly and the best availability is on the matinees. )
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