Theatre Raleigh ACT's "Ride the Cyclone" is a Wild and Wonderful Thrill

The cast of Theatre Raleigh ACT's Ride the Cyclone. Photo by Bianca Thompson.

Adolescence can be a wild ride, and no one knows that better than the six teens at the heart of Ride the Cyclone. This quirky little musical, which features a book, music, and lyrics by Jacob Richmond and Brooke Maxwell, explores what happens when these aforementioned teens perish in a roller coaster accident. Suddenly, they’re thrust into the great beyond, with only The Amazing Karnak, a fortune-telling machine, to guide them. In a Cats-style twist, he asks them to compete for a chance to live again, and each character shares their story in the hope of redemption.

While that concept might sound dismal, Theatre Raleigh ACT’s production is anything but. Six talented young actors deliver bubbly, humor-filled performances in this special “High School Edition” of the musical. Plus, local legend Ira David Wood III lends his voice to the intimidating Karnak, brought to life with an elaborately-designed, realistic set piece. There’s also a live band, led by music director Lauren Tompkins Yates, that surrounds the tale with enveloping music, building anticipation and setting the mood. 

The compact story, which clocks in at around 90 minutes, wastes no time in setting the stage and bursting into action. In “Uranium,” an early musical number, viewers learn a little more about each character and their (recently lost) lives in dwindling Uranium City. As the fast-paced lyrics fly, Tim Malboeuf’s cheeky choreography pumps up the energy, garnering laughs and creating a festive, wonderfully infectious atmosphere. The subject matter might be dark, but it’s clear, from the start, that this is not a tearful story. It handles even the most sensitive topics with levity. And, while there are some hints of tenderness, the absurdist script and lively performances, joined with Blaire Thompson’s energized direction, leave no time for mourning. Instead, this ride is all about campy fun.

The first teen to defend her life is the perfectionist, egotistical Ocean. She claims to be “up with people,” but as her song and monologue reveal, she’s really just up for herself. With her perky blonde bob and a prim and proper demeanor, Audrey Lewis creates a scheming, disingenuous character who incites equal parts disdain and laughter. 

Next on the chopping block is the more sympathetic Noel, who dreams of a different life (and even a different death) than the one he was forced to live. His dream life is all silky dresses and sexuality, though his real life was more Taco Bell and ironic Christina Aguilera anthems. Allen Bailey truly shines in his portrayal of the dissatisfied but hilarious Noel. His over-the-top delivery and whip-quick comedic timing send his character leaping off the stage, cementing him as an easy favorite. A fun onstage costume change also breathes life and humor into his time in the spotlight.

The story speeds along to give both Mischa (Kirk Baron), a Ukrainian “bad boy” with an online-only fiance, and Ricky (Noah Bailey), a weirder-than-words dreamer with religious trauma, their time in the spotlight. Baron nails his character’s requisite accent and cool energy, while Bailey plays his role with a wide-eyed innocence and a penchant for idiosyncrasy. His extravagant rendition of “Space Age Bachelor Man” is one of the show’s many highlights.

A number that large and loud could only be followed by something softer, and “The Ballad of Jane Doe” fits the bill. Jane (Madeline Campbell) is the most mysterious contestant in this odd contest. No one knows her real name or her real identity, and she has a tendency to be a little creepy. Campbell lends her hauntingly beautiful singing voice to this eerie character, adding a layer of depth, sympathy, and nuance to the role. Even when she’s not singing, her vacant stare and tormented demeanor make Jane intriguing.

Last to compete is Constance, the too-nice girl who has played sidekick to Ocean for far too long. Her story is a sad but familiar one, full of longing and a desire to break out of her too-small life, and Rosalee Wendt plays the character with a perfectly conflicted mix of overflowing sweetness and simmering resentment.

Once all the contestants have taken their turns, their pictures flashing on the bleachers behind them, the ending and its final twists unfold. But, even after the ride grinds to a halt, the audience is left with the dizzying feeling of having experienced something truly great. Talented young performers, Broadway-level choreography, and expert direction have joined forces to provide a ridiculous, thoroughly enjoyable romp with just the right twinge of bittersweetness. This is one ride you’ll want to experience again and again.

The show runs through April 25th, and tickets are available here.

-Susie Potter