Review: RIDE THE CYCLONE, Southwark Playhouse Elephant

“I know this dream of life is neverending / It goes around and round and round again”

Six teenagers are killed in a freak rollercoaster accident and find themselves in a competition in which they must sing a song to prove that they are the person that should be brought back to life by a mysterious fortune-telling machine. Quite the wild tale, no? But that’s only the beginning of Ride The Cyclone. The show, created by Jacob Richmond and Brooke Maxwell in Canada in 2009, has been given a run in London, directed and choreographed by Lizzi Gee.

Audience members are greeted by The Amazing Karnak (Edward Wu), who presides over the proceedings, watching from above as the six students compete for a second chance at life. All of the students contribute to one another’s songs, with Gee’s brilliant choices making it feel as though each are “possessed” and simply following the leader for each number. The set, designed by Ryan Dawson-Laight, gives the appearance of an abandoned amusement park, with a revolve allowing for quick changes. 

Ride The Cyclone is one of those fascinating and cult-like shows where people are either obsessed or have never heard of it - there is rarely an in-between. The show rocketed to social media fame during the pandemic, with clips and bootlegs going viral on apps like TikTok and fans making their own art after beig inspired by the show. And the virality wasn’t just on the other side of the pond - the show broke Southwark Playhouse’s record for the most tickets sold in a 24-hour period, proving that people have been dying (pun intended) to see the musical in the UK. And, for those who might see similarities between this and Six the Musical, Ride The Cyclone has been around for nearly a decade longer than the British musical. 

For those who are unfamiliar with the show, Ride The Cyclone follows six young students who lived in Uranium City in Saskatchewan, Canada and performed in the school’s choir together before their untimely demises. There’s Ocean O’Connell Rosenberg (Baylie Carson), the straight-A student who would do whatever it takes to get ahead, Noel Gruber (Damon Gould), the “most romantic boy in town” who dreams of living a scandalous life as a prostitute in France, Mischa Bachinski (Bartek Kraszewski), the “angriest boy in town” who has come to Canada after being used by his mother back in Ukraine, Ricky Potts (Jack Maverick), the “most imaginative boy in town” who went mute after a swimming accident, Constance Blackwood (Robyn Gilbertson), the “nicest girl in town” and Jane Doe (Grace Galloway), who has no memories - and no head. 

Just as the students have wildly different personalities, each of the songs they sing in order to win their chance at rebirth are unique. Carson perfectly portray’s Ocean need for victory in “What The World Needs,” ending the number on the top of a literal human pyramind. Instead of singing about his own life, Noel chooses to use his time with “Noel’s Lament” to imagine himself as “Monique Gibeau in post-war France,” living the life he dreamed of whilst being trapped working in a mall’s Taco Bell. Gould is able to show off not only his singing abilities but his dancing as well, dramatically throwing themselves across the stage as the angst-filled prostitute. 

While Mischa may be the angriest boy in Uranium, his song is split into the two emotions that a Ukranian man feels - rage and passion, illustrated by his rapping in “This Song Is Awesome” and his heartbreaking professions of love to his online girlfriend in “Talia.” Kraszewski does a brilliant job in both parts, aided by the video design by Nina Dunn in the background. The show takes a wild turn (well, a wilder turn) when Ricky takes the wheel, getting roars of applause from the audience after his Cats-inspired performance of “Space Age Bachelor Man.” Maverick owns the stage from the minute he begins to sing, establishing himself as a leading man capable of saving the galaxy.

In one of the show’s more wholesome moments, Constance sings about how she has looked at her short life, at first thinking it was like a “Jawbreaker” and finally realising how happy she is on her “Sugarcloud.” Gilbertson’s performance of Constance’s monologue before her number brings tears to the eyes of audience members, a young girl reflecting on a life cut short. The show-stopping number is “The Ballad of Jane Doe,” sung in a hauntingly brilliant fashion by Galloway and enhanced by the slick illusions designed by Richard Pinner. Even when she is not singing, it becomes difficult to look away from Galloway as the mysterious (and slightly creepy) Jane with her doll-like movements and obsession with her headless doll in a pram. 

Ultimately, Ride The Cyclone is truly a rollercoaster of a theatrical experience, with audiences laughing one minute and crying the next. The cast and creative team have brought the show to new heights, using every inch of Southwark Playhouse Elephant to their advantage. It was certainly worth the wait!

Ride The Cyclone runs until 10 January 2026 at Southwark Playhouse Elephant.