Imagine making an occult-driven musical from the misfortune of a group of high school children losing their lives in a tragic Big Dipper incident. Your first reaction would surely be how dreadfully inappropriate, downright maudlin and an act of moral turpitude. And yet that is what Canadian writers and composers Jacob Richmond and Brooke Maxwell have done, employing a darkly comedic bent.
Richmond’s seed of an idea was to dramatise an accident. He had met Maxwell, who was writing music for Vaudeville cabarets in British Columbia. Richmond pitched the notion that Ride the Cyclone would focus on a chamber choir that died on a roller coaster. In fact, it turned out to be about what happens thereafter and the need for an act of selflessness.
So, to the detail: First, we hear from what is termed a precognition machine (call it a mechanical fortune teller, if you like), known as The Amazing Karnak (Jemima Larmour). It can accurately predict the time and place of a person’s death, including its own, courtesy of a rat named Virgil in one hour. So it is that six teens from St. Cassian High School in Uranium City, Saskatchewan, die on the ride. Five were identified by name and the sixth was headless and known simply as Jane Doe.
Now, before they pass into the afterlife, The Amazing Karnak raises the prospect of a competition, the prize being a return to life for one of them. Each must bid for the opportunity that it be them, although there is also subsequently not just one twist, but two. And so the game begins, with the sextet performing in song.
First up is self-serving overachiever Ocean O’Connell Rosenberg (Taylor Roberts), who maintains she has the highest chance of succeeding in the world. Gay boy Noel Gruber (Tyson Clark) is an aspiring poet laureate, who desires to live the tragic, loveless life of his alter ego, a French prostitute. With a gangster persona, Mischa Bachinski (Ethan Hooper) is a Ukrainian, who emigrated to Canada. That happened after his mother, dying from radiation poisoning while on a Chernobyl disaster clean-up crew, put him up for adoption, lying about his age.
Socially awkward Ricky Potts (Ben Howell) witnessed the killing of his Pentecostal pastor father by their pet viper JoJo, causing him to become mute. To combat his loneliness in life, he imagined himself as the intergalactic saviour of a race of anthropomorphic “sexy cat women”. Jane Doe (Holly Baker) has no memory of her life, but sings about her despair. Constance Blackwood (Kiarah Noone) has complicated feelings about her hometown. She reveals that three hours before the accident that killed them, she lost her virginity to a 32-year-old travelling carnival employee in a portable toilet.
In short, the show is uproarious nonsense, with laughs at every turn. Founded earlier this year by Charli Mayne, Entr’acte Theatre Company is run by young people for young people. Mornington Peninsula’s first all abilities community theatre group, has done a fine job with the bizarre material. Ride the Cyclone has been brought to life entirely by a team under 30.
Exaggeration is the name of the game and each of the cast has their time to shine. In short, I enjoyed and appreciated all the endeavours, as well as the slick choreography by Molly Pierce-Decker. Perhaps it was because of the role he was playing, but by leaning heavily into his persona, the strongly accented Ethan Hooper took the cake for me as Mischa.
Truth be told, I also had a soft spot for the other outliers, dreamers Noel Gruber and Ricky Potts, as realised by Tyson Clark and Ben Howell. That is not to overlook the subjugated Constance Blackwood, who has been taken advantage of by her supposed bestie, Ocean O’Connell Rosenberg.
Complete with evocative costuming (the costume designer is Eli Agius), Jemima Larmour navigates proceedings with aplomb. The Amazing Karnak acts as narrator. With musical direction from Nicholas Corcoran, all the artists pour their hearts into their vocal performances, which will only grow through the experience. There is also strong chemistry within the group, which was evident throughout. The stage became a most supportive environment.
Set designers Ben Howell and Jemima Larmour use graffiti, toy and magic elements as drawcards. Signage and knick-knacks add to the intrigue. Sound designer Leo Gorrion and lighting designer Jason Sridher elevate proceedings, with their attention to detail. Ninety-minutes without interval, Ride the Cyclone has been well directed by Sampson Wilkop and, quite appropriately, received a rousing reception.
Alex First
Other reviews you might enjoy:
- The Wizard of Oz (PLOS) at Frankston Arts Centre – musical theatre review
- Pizza Man (Slay Theatre) – theatre review
- We Will Rock You (Frankston Arts Centre) – musical theatre review
Alex First is the editor of The Blurb. Alex is a Melbourne based journalist and communications specialist. He also contributes to The Blurb on film and theatre.
