Review: RIDE THE CYCLONE, THE MUSICAL at Wilmington Drama League

For many, the wild and unpredictable ride of a roller coaster is exhilarating and euphoric, while for others, it is traumatic and elicits multiple phobic fears. The musical RIDE THE CYCLONE is very much like a roller coaster in that the mindset of the viewer makes all the difference. Labeled as a “wildly original new musical – part comedy, part tragedy, and wholly unexpected,” is RIDE THE CYCLONE worth the price of a ticket?

RIDE THE CYCLONE from creators Jacob Richmond and Brooke Maxwell opened in 2009 in Victoria, British Columbia and made its Off-Broadway premiere on November 20, 2016 at the Lucille Lortel Theatre in New York City to mixed reviews. Today, the show is more of a cult favorite rather than a marquee staple. RIDE THE CYCLONE is the second installment of Richmond’s Uranium Teen Scream Trilogy which explores themes of grief, redemption and the absurdity of life. The first installment Legoland (2006) never truly made a mark in theater and the third installment is without a name, has no details, and no status or information since 2012. Never heard of Legoland? You are not alone. Never heard of RIDE THE CYCLONE? Again, you are not alone. However, RIDE THE CYCLONE is being added to many audience members’ musical theater lexicons.

Members of the Saint Cassian High School Chamber Choir board the Cyclone roller coaster at a local amusement park. Within minutes, their frivolity takes a tragic turn - the coaster’s axle breaks, throwing them skyward and then plunging them downward to their deaths. They “awaken” inside of the amusement park’s eerie storage building which includes the mechanical fortune teller, the Amazing Karnak, who offers one of them the chance to return to life should they win his unspecified, rule changing game. It was at this point my companion whispered to me, “Is this Saw, The Musical?” I assure you this show, although dark, is not horrific or grotesque.  

What starts to unfold during the one act musical isn’t anything miraculous but rather ordinary fare with the typical tropes for a group of teens – the self-proclaimed leader, the reluctant follower, the meek, the outcast, the misunderstood. The one unusual character in the group is the unknown. A student without a name, without a story and seemingly without hope. A fortune telling moment is conjured for each student which gives way to the character’s solo moment wherein they provide the narrative to their inner most secrets and desires. Basic teenager stuff…on the surface. The story makes its point when the group truly listens to each other to grasp a deeper comprehension of a personal journey and the differences in measuring one’s life.

The introductions begin with The Amazing Karnak played by Owen Kanienberg. To devise a character who has to sit in a box, making only robotic-like movements from the waist up all while speaking in a mechanical metered tambor, is ridiculous, but Mr. Kanienberg is up to the challenge and succeeds far better than most. Never once did I see anything other than an animatronic in that box. In my experience, there are those who think a character who sits for the entire show is the easiest. It is, in fact, characters like Karnak that are the hardest to pull off because it is so easy to fade out of character while sitting still. The expression of relief on Mr. Kanienberg’s face at curtain call most likely isn’t for the show being over but rather the joy in standing up and becoming human again.



We next meet Ocean O’Connell Rosenberg played by Lauren Cusick. Ocean is the overachieving, almost obnoxious choir captain with a nicer than usual mean girl vibe who believes no one in the choir other than herself will amount to anything in life. Ms. Cusick offers the right amount of rude in her song What The World Needs which includes the lyrics, “Do we really need another zero?” and “I’m the mover. I’m the shaker. I’m the headline maker. What the world needs is people like me.”  As Ocean, Ms. Cusick drives the action nicely while keeping her choirmates in check.  

Next is Christopher Williams as Noel Gruber, the after-school Taco Bell employee who is obsessed with theatrical tragedy and yearns to be a post-war French sex worker. In his song Noel’s Lament, it is difficult not to be taken aback with the lyrics, “So now I sell my love for opium. At night I burn myself with cigarettes.”  The lyrics are so overly dramatic that it is easy to cross from the desperately tragic to the silly and frivolous. Mr. Williams staddles the line well enough without ever falling completely over to the completely comedic.

Mischa Bachinski (William Bryan) is the most oddly written character for a show of this type. A Ukrainian child adopted by a Canadian couple who kept him in the basement because he was a teenager instead of a baby. Left to his own devices, Mischa became an overly aggressive, hip-hop obsessed alcoholic who is engaged to his online true love, Natalia. (That is weird and very specific, don’t you think?) Mischa is given two songs – This Song Is Awesome and Talia. The first, a mediocre written attempt at hip hop having a smattering of interesting autotune moments, and the second, a love song to his betrothed that, as with Noel’s Lament, can slide into the silly rather than romantic. Mr. Bryan handles the vocals nicely and easily switches styles between energetic hip-hop artist and standard musical theater balladeer. 

Jamie Depto’s portrayal of the most imaginative boy in town, Ricky Potts, is genuine and sweet. Suffering from an unnamed affliction making him unable to talk or walk and therefore ostracized by his peers, Ricky uses his overactive imagination to dwell on the planet Zolar. His song, Space Age Bachelor Man, is a lot of fun, although the strangest of them all. Mr. Depto purrfectly scratches all the right places.

In the role of Constance Blackwood, Amaya Howard superbly delivers a life defining monologue before her full-tilt song, Sugar Cloud. Constance hides a very intimate and personal secret which Ms. Howard carefully protects until the bitter end.

In the coveted role of Jane Doe, Lauren Knecht brings the audience to the edge of tears, both of despair and of joy. Always remembering her character’s plight, Ms. Knecht’s physical movements never faulter. Her vocal refinement, flexibility and clarion sound for The Ballad of Jane Doe solidifies it as the showstopper it is meant to be.



RIDE THE CYCLONE is definitively an ensemble piece. There are no minor characters. No one character is more important than the other. Each has their own story and their own journey. The artists for this production commit fully, sincerely and without hesitation in exploring life, death, and identity. From the beginning measures of The Uranium Suite to the final harmonic chord of It’s Just A Ride, electricity flows freely from the stage. The performers vary in age from high school student to soon-to-be college graduate and just a little older. I mention that because it matters. It matters for the simple reason that there are experienced adult theater artists who could not have created such an experience or given a more defined portrayal of the characters. The book for RIDE THE CYCLONE lacks in certain respects, the biggest disappointment being character development. There just isn’t enough time to really dig in to the character’s psyche. We get a nice glimpse, more so with respect to Constance, but it certainly isn’t a complete picture. The characters play the game for themselves solely, until they don’t. The musical numbers support and elevate the emotional theme of the scenes with some being fun and bouncy, and others heartfelt and sweet. What I truly appreciate is that many are hummable. Even if you are hearing them for the first time, you just might be humming one of the tunes on your way of the theater. Kudos to the band (Tom Pulcinella, Krista Thomas, Josh Vance, Michael Campanile, Sean Townsend, Casey Warfield, Jane Roberts) for their great work in making the theater rock.

The large set (Aaron Cook) filling almost the entire stage is visible the moment you walk in which I found delightful as there are so many bits and pieces to gazes upon while waiting for the show to start. The Set Decoration Team led by Lindsey Cusick and Jack Johnston leave no doubt you are in a carnival environment. Lighting (Ryan Phillips) suits the moods of each scene; however, there were a few dark edges that made a muddy look for the performers. Sound (Jen Scorziello) can be an issue at WDL, and this time was no different.  After seeing so many shows there and even performing on its stage, to me, it’s the room not being able to easily accommodate a live band. After some tweaking, the balance settled.  Poorly chosen costumes can lessen the visual imagery and timing of this show. Costumer Laurene Eckbold and her team (Katie Donovan, Roy Eckbold) absolutely deliver – breakaway outfits and all. 

Ray Crozier (Stage Director), Tom Pulcinella (Music Director), and Kaity Cherkaksy (Choreographer) were all on the same page in deciding how to execute the plan. The performers move between and within scenes seamlessly with purpose and focus. Because the set is large and the band is positioned behind the set, performers occupy the downstage areas more often allowing for a deeper connection with audience members. Being able to see and read facial cues is important with a show of this type. The performers kept me transfixed and engaged throughout. When dance or movement occurs, it supports the statement rather than being the standard musical theater choice. The vocals are strong, diction is clear and harmonies are tight.  

Attendance on Opening Night was robust with what I can only assume to be fans of the show because there were numerous outbursts of hoots and woots before a song even hit the second measure. The audience showed its appreciation for the incredible performance given by the artists with a well-deserved standing ovation which lasted longer than the band had music to cover. As the closing number goes:

Yes, it’s everything you loved,
and it’s everything you dreamed,
and it’s everything you shared,
and it’s everything that seemed oh so terrifying,
turning round. It’s just a ride.  It’s just a ride. 

What a ride this production is! I highly recommend buying a ticket to RIDE THE CYCLONE at Wilmington Drama League.

Ride the Cyclone, The Musical
Book, Music & Lyrics: Jacob Richmond & Brooke Maxwell
Stage Director: Ray Crozier
Music Director: Tom Pulcinella
Choreographer: Kaity Cherkassky

Wilmington Drama League
10 W. Lea Boulevard
Wilmington, DE 19802
(302) 764-1172
www.wilmingtondramaleague.org

Show Runs April 24 to May 3
Photo Credit: Rich Lee / KRL Photography

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