Ride the Cyclone at Southwark Playhouse Elephant
★★★★★
What the world needs is to see this show! Finally crossing the pond is Ride the Cyclone at Southwark Playhouse Elephant, and this production certainly lives up to any expectations that I had. This show is a hit, and I would happily see this again and not tire of the production. From engaging choreography to inventive and eye-catching sets, this show has it all and is certainly not one to miss.
Southwark Playhouse Elephant has had a makeover to match the theming of this show, and I love the immersion that it creates from the moment you step into the theatre until the moment you leave, and this makes an already wonderful experience watching the show even more memorable.
*POSSIBLE SPOILERS AHEAD*
Content Warnings:
There were clear warnings on display on the door into the auditorium which stated that the show contained:
Flashing Lights
Haze
Loud Music
Adult Themes
Strong Language
Sexual References
References to Death
Brief References to Drug Use
I felt that there were other warnings worth mentioning which were as follows:
References to Suicide
References to Existentialism
References to Negative Thoughts
References to Ableism
References to and Depictions of Decapitation
Use of Funeral Imagery
Use of Rollercoaster Sounds to Suggest the Crash (audible metallic screeches to suggest the derailing)
My Review:
After falling in love with the soundtrack years ago, I knew this show was a must-see when it was announced to be coming to Southwark Playhouse Elephant. I saw the third preview of the show and then Press Night, and I was enthralled by the production both times. The changes just from the third preview to Press Night were so well considered, and allowed me some insight into the process of producing this show and the care that was taken when interpreting the book and score to create a fresh take on the show that still honoured and complimented the book. The staging of this production, with the use of zodiac imagery, nods to Karnak's introductions of the children using their zodiac signs to better explain their personalities. The stage also has rollercoaster tracks around the edge, which are lit up before the show starts and then abruptly turn off before we meet the St Cassian’s Chamber Choir to emphasise the suddenness of the Cyclone rollercoaster disaster. Every subtle and clear piece of staging complemented the story, and it was wonderful to see how considered the decisions of Ryan Dawson-Laight (Set & Costume Designer) were. Every aspect of this production felt fitting to the book of Ride the Cyclone, and I could not have pictured a better adaptation.
Following the events after the Cyclone rollercoaster disaster that led to the demise of St Cassian’s Chamber Choir. The audience meets the Chamber Choir, the Amazing Karnak (not a brag) and Jane Doe, the unknown victim of the Cyclone rollercoaster disaster whose body was found in the St Cassian’s uniform… without a head.
Ride the Cyclone embraces the phrase ‘It’s Just a Ride’ throughout as it tells a story of friendship, love and loss, which is particularly clear and powerful during Talia. By playing to the human experience, this show can be enjoyed by many, as every audience member will find something they can relate to within the story. The show is brilliantly cast, and the performers bring this show to life with such joy and skill that you cannot help but be drawn in and embark upon the journey following the Cyclone rollercoaster disaster with the St Cassian’s Chamber Choir. The show is made even more engaging by each song from each member of the Chamber Choir being a different genre, so the audience truly never knows what’s going to happen next. Throughout the show, there are moments of immersion where the cast interacts with the audience. For me, this reinforced my role as an observer, similar to Karnak, as the St Cassian’s Chamber Choir fight for their potential future before making what will likely be the hardest decision of their afterlives.
The show opens with Karnak’s Dream of Life, sung by Grace Galloway (Jane Doe), and this is the first moment we get to see the creative genius of Kevin McCollum and Morris Berchard (Producers) with how they present Jane Doe initially, portrayed as a decapitated mannequin. After this, we meet Edward Wu as The Amazing Karnak, who wonderfully combined the human qualities of this character with the robotic undertones of being a carnival fortune teller. I found it lovely how Karnak felt almost like an omnipotent presence observing the children throughout, and this added to the untouchable feeling emitted by this character, complementing the God-like undertone as he plays a game of life and death with the children. Edward Wu commanded and led the show from start to finish, guiding the audience through the true desires of the St Casian’s Chamber Choir to the decision that will change all their lives, or well, afterlives.
Image Credit: Danny Kaan
The first member of the St Cassian’s Chamber Choir that competes is Ocean O’Connell Rosenburg, the most successful girl in town, played by Baylie Carson. No matter what role Baylie Carson plays, they bring an infectious energy to the role, and their performance as Ocean O’Connell Rosenburg was no different. From the moment I saw the rehearsal clips of their rendition of ‘What The World Needs’, I could not wait to see it live, and Baylie Carson did not disappoint! If I could watch their rendition on loop, I would, and I urge everyone to see it, as it truly is an annoyingly fun number. You know you shouldn’t be agreeing or simply enjoying what Ocean is saying, but the life and energy that Baylie brings to the song makes that simply impossible. Baylie Carson maintains this energy throughout the show, allowing the character to annoy and later inspire the other members of the Chamber Choir, creating wonderfully comedic and, at other times, heartfelt moments during the show, such as during Ocean’s ‘I Love You Guys’ opening and unofficial second song.
The next member of the Choir that we meet is Noel Gruber, the most romantic boy in town, played by Damon Gould. Blending tragedy and comedy, Damon Gould brings Noel Gruber to life, allowing us to see his desperation to be his true self and escape from the restrictions he feels have been put on him by being born and living in Uranium. His rendition of ‘Noel’s Lament’ was sublime, and the dance break with Bartek Kraszewski wonderfully tied together the scene setting of the performance. His voice was delightful to listen to, and seeing the emotion he brought to this song, highlighting the pent-up frustration of Noel Gruber, added to the impact this moment has on the audience. Damon Gould’s performance allowed the audience to better understand Noel’s motivations and struggles, causing them to want to root for him to win the competition. Something that this show, but this production specifically, does so well is capturing the desperation of each child to win, causing the audience to quickly realise the impossible decision that they will all have to make at the end. As an audience member, the power of each performance delivered left me wanting all the children to be saved rather than just one. Seeing Noel finally able to honestly express himself reminds the audience that this competition is based upon how the children saw themselves rather than how the world saw them, and further emphasises the tragedy experienced as Noel recounts a life he dreamed of but never got to live. Damon Gould balanced their performance extremely well as he allowed comedy to seep through without undermining the tragedy of Noel’s situation and the loss that he feels for a life he never got to live.
After that, the audience meets Mischa Bachinski, the angriest boy in town, played by Bartek Kraszewski. I have always enjoyed the stark difference between the two songs performed by Mischa Bachinski, ‘This Song is Awesome’ and ‘Talia’, and this production did a fabulous job at highlighting the contrasting nature of these songs by altering the staging. Also, Bartek Kraszewski influences the differing atmosphere of the entire auditorium through subtle changes in his demeanour and characterisation. The two songs are clearly Mischa but show the opposing sides of him, rage and passion, in a wonderful way, which reminds the audience about the complexity of humans and all the emotions experienced day by day throughout life. Talia has always been one of my favourite songs on the album and without giving much away as it must be seen to truly be understood, the staging in the production is beautiful and heartwarming which is added to by Bartek Kraszewski’s performance where he truly captures the love and loss Mischa is experiencing in this stunning moment of humanity which ends with a powerful time of silence and performance where Bartek Kraszewski holds the audience in the palm of his hands. Contrasting this is the song before, ‘This Song is Awesome’, which highlights the rage side of Mischa as he ‘raps about money in autotune’. Past his splendid characterisation and understanding of this character, Bartek Kraszewski has a lovely voice, which is highlighted during Talia as he blends power and heartbreak in his voice to further move the audience to sympathise with his character.
Then Ricky Potts, the most imaginative boy in town, played by Jack Maverick, takes to the stage to sing ‘Space Age Bachelor Man’. With his returned voice and newfound adoration from his fellow choir members, we see Jack Maverick provide an insight into the imaginative and fascinating mind of Ricky Potts. Jack Maverick delivers a ranged and enjoyable performance of ‘Space Age Bachelor Man’ that captivates the audience as they are taken on an intergalactic adventure. This song is always a highlight when watching Ride the Cyclone, as you will never truly know what to expect with the staging based on the soundtrack alone, and this production did not disappoint. Nothing could have prepared me to watch cats dance around using space hoppers, but it was perfect for the song, and I loved every second of it. Jack Maverick stuns his fellow contestants with a side they knew nothing about. The imagination of Ricky Potts and the enjoyment of his fellow choir members remind the audience how short their lives were, and you cannot help but imagine all the dreams and ideas they never got to experience. Jack Maverick’s voice was fabulous, and this, alongside his energy and characterisation, made this one of the most memorable moments of the show for me and is another moment that simply must be seen.
After the awesome high of Ricky Potts’ performance, the audience meets Jane Doe, much to Constance’s dismay, played by Grace Galloway. A small detail I really enjoyed for this character was that her uniform was discoloured and visibly different to that of the others, which is due to the creative genius of the costume designer, Ryan Dawson-Laight. This further differentiates Jane Doe from the rest of the choir and nods to the fact that maybe she was never in the choir to begin with, a doubt already sown into the minds of the audience members. The staging of this song was of great interest to me as it has notably been different across various productions. I thoroughly enjoyed how Lizzi Gee (Director & Choreographer) chose to stage it, as it had this eerie personality which perfectly encapsulates the atmosphere this song creates within the audience. Her voice is hauntingly beautiful, complementing the atmospheric staging and environment created by her performance as part of the competition. The use of funeral imagery pushes her anonymity in a subtle yet powerful way, reminding the audience that she has ‘no memories and no name’. This allows the audience to feel empathy for her situation and better understand the meaning and desperation behind ‘The Ballad of Jane Doe’.
The final member of the St Cassian’s Chamber Choir to perform is Constance Blackwood, the nicest girl in town, played by Robyn Gilbertson. Constance sings of a love for her hometown and all that it has to offer, despite feeling like the only person who feels that way about Uranium outside of her family. The hurt and joy in Robyn Gilbertson’s performance moved me to tears and then to unmatched happiness as she transitioned from ‘Jawbreaker’ to ‘Sugar Cloud’. My changing emotions as Constance reflects on the various emotions she has felt throughout her life and death highlight the power of Robyn Gilbertson’s performance and her ability to allow the audience into her characterisation so that they go on the emotional journey with Constance. Alongside this openness of her performance, her vocal ability left me in awe as I was mesmerised by her voice from start to finish, which potentially allowed me to be more immersed in her performance as her vocal skill drew me in to listen to every beat of her songs and thus Constance’s true feelings and desires.
Once all members of the choir have performed, it must be decided who gets to live on beyond the Cyclone rollercoaster disaster. The ending of the show contrasts the previous implication that the children's lives were tragically cut short as Ocean considers the difference in their situation and that of Jane Doe, coming to the conclusion that a life cut short is still a life well lived and that their memories allow their life to have been wonderful and full rather than tragically short as the audience is led to believe. The ending of the show reminds the audience of the importance of creating memories and spending time with those you care about, as the children find comfort within each other as they prepare to encounter the unknown, with one less member than they started with. I’ll leave that outcome for you to find out. The ending of this show is as beautiful as its constant message is echoed as the St Cassian’s Chamber Choir performs their final performance, ‘It’s Not A Game/It’s Just A Ride’, accompanied by a montage of the one who lived beyond the Cyclone disaster. This moment yet again moved me to tears by the love it causes you to feel, the loss it forces you to reflect on and the joy that is the journey of Ride the Cyclone.
I cannot urge people another to see this thrilling ride of a show before it closes on the 10th January. It tells the story of life; the highs, the lows and all the inbetweens, and that is so powerful. You’ll laugh, cry and smile (I certainly did), and it must be seen to be believed!
Thank you for taking the time to read and I hope this review has proved interesting and helpful for you :)
- AnxiousTheatregoer
All images used in the review have been taken by Danny Kaan.
