Review: RIDE THE CYCLONE at Theatre Raleigh ACT

Kicking off Theatre Raleigh ACT’s spring season is the Performance Company production of Ride the Cyclone (High School Edition), a bold, strange, and high-energy musical that immediately makes one thing clear: these performers are not here to play it safe. Theatre Raleigh ACT’s Company Track is designed for young actors serious about pursuing their craft in a pre-professional environment, and this production shows just how high that bar is set.

With book, music, and lyrics by Jacob Richmond and Brooke Maxwell, Ride the Cyclone follows six teenagers from a Canadian chamber choir whose lives are cut short in a freak roller coaster accident (the titular “Cyclone”). They awaken in limbo, where a mechanical fortune teller offers one of them the chance to return to life. What follows is a series of character-driven vignettes as each makes their case. Structurally, it operates like Cats, as each character gets their own spotlight moment, but with a much stronger throughline holding it all together (but surprisingly, there are still cats!).

With only six performers, who are onstage for nearly the entire show, the success of the production rests heavily on the ensemble, and they rise to the challenge. There is a clear sense of cohesion, both vocally and in how they support each other throughout. You can feel that they are listening to one another and building the show together in real time, which goes a long way in a piece like this.

The three male performers each bring something distinct to the production, and all have standout moments that showcase their range. Allen Bailey’s Noel exudes confidence from the start, and that confidence pays off in “Noel’s Lament,” a number that takes a sharp and unexpected turn as Noel steps into his dream persona. Bailey leans into the shift completely and, more importantly, with complete sincerity, committing in a way that truly sells the moment.

Noah Bailey’s Ricky is another pleasant surprise. Going in, Ricky feels like the character you know the least about, which aligns with how he exists in the world of the show, but Bailey injects him with a sense of charm that makes him immediately likable. “Space Age Bachelor Man” is a fun standout, embracing its offbeat, almost surreal energy that felt like a wild ride.

Kirk Baron’s Mischa brings a strong presence as the show’s resident “bad boy.” He leans into that edge with ease, providing a nice contrast to the rest of the cast. “This Song is Awesome” goes all in on its high-energy, stylized tone, but it’s his performance in “Talia” where things really land, allowing the tougher exterior to soften and reveal something more vulnerable underneath, which was really special.

That said, the energy and confidence brought by the women of the “Cotton Candy Cast” I saw consistently pushed the production to another level. Audrey Lewis’ Ocean is a force from the moment she steps onstage. Her performance of “What the World Needs” is an absolute firecracker, kicking off the individual numbers with confidence, clarity, and control. She is magnetic throughout, with a strong command of both the humor and the more grounded moments, ultimately anchoring the show in a really satisfying way. Her voice just soars, and she carries a clear sense of star quality, completely commanding the stage - you can’t take your eyes off her.

Madeline Campbell takes on the challenge of Jane Doe, one of the most recognizable roles in the show, and fully commits. “The Ballad of Jane Doe” is a standout moment, not just vocally, but physically. Hitting those high notes is impressive on its own, but doing so while spinning and incorporating such precise, stylized movement elevates it even further. What really works is her consistency. She never wavers from the character’s eerie, broken doll physicality, even in the smallest moments, making the mysterious Jane Doe feel fully realized any time she is onstage.


Rosalee Wendt’s Constance brings a warmth and sincerity that feels incredibly natural and heartfelt. Her performance builds beautifully into the eleven o’clock number “Jawbreaker/Sugarcloud,” which lands as one of the most emotionally resonant moments of the show. She starts with a softer, more delicate tone that gradually expands into something fuller and more powerful, all while maintaining a sense of honesty that makes it really land. It is the kind of performance that quietly sneaks up on you. And if I were casting a vote at the end, her performance would’ve easily earned mine.

What’s clear across the board is that this is a group of performers with a strong foundation and a real sense of commitment. They are making bold choices, and for the most part, those choices pay off.

Choreography by Tim Malboeuf matches the show’s constantly shifting styles, moving between musical theatre, contemporary movement, and some more out-there moments with ease, and the performers remain deeply invested in each number. There are sequences that lean all the way into the show’s absurdity, at times giving off strong Crazy Ex-Girlfriend vibes, which feels right at home in this world.

Director Blaire Thompson, who also serves as the Creative Director of Theatre Raleigh ACT, has put together a production that makes smart use of the space. Using multiple levels and areas of the stage, Thompson ensures that each character’s moment is clearly highlighted while keeping the rest of the ensemble visually engaging. A particularly effective element is Karnak, the ever-present mechanical fortune teller stationed at the side of the stage, buzzing to life with flickering lights to guide the structure of the show and neatly bookend each character’s moment.

Lighting design by Darby Madewell leans into a dreamlike mix of blues and purples, reinforced by haze and atmosphere that help sell the limbo setting. The recurring silhouette motif is particularly effective, adding a strong visual throughline. Jane Doe’s introduction, emerging from a bright light with her unsettling presence, is one of the more striking staging moments.

Another standout touch is the use of childhood photos projected during each character’s introduction. It’s a small but incredibly effective choice, grounding these larger-than-life characters in something real and human. It also feels like a subtle and meaningful nod to the performers themselves, capturing them at a moment where they’re stepping into the next phase of their own lives.

At just 90 minutes with no intermission, the show moves quickly and rarely lets up. That momentum works in its favor, keeping the audience engaged throughout. However, there are moments, particularly toward the end, where allowing the show to breathe just a bit more could have helped the emotional weight fully land. The final decision comes quickly, and a little more space to sit in that gravity would have elevated its impact.

Ride the Cyclone is a show that leans into its weirdness, and this production embraces that completely. It is funny, offbeat, high-energy, and at times unexpectedly thoughtful. More than anything, it serves as a showcase for a group of young performers who are clearly developing strong foundations in their craft. This isn’t just “your local high school’s show”, these are performers operating at an extremely high level. So step right up, grab some popcorn, and settle in - this is one ride worth taking.

This production closes Saturday, April 25th.

Photo Credit: Bianca Thompson