Since its premiere in 2009, Ride The Cyclone has slowly garnered a cult following.
The show was written by Canadian playwright Jacob Richmond, with music by Brooke Maxwell. It’s now seen various versions pop up around Australia, but this production finds its home in Marrickville’s quaint Flight Path Theatre.
Produced by Wollongong-based Rising Arts Productions, this rendition remains mostly faithful to the original musical. The only major point of difference is the gender-swapped version of The Amazing Karnak, played by Kay Mae White.
What stands out most in this production is its talented and well-cast actors. The musical is known for its humour but also features vocally complex musical numbers. The cast lets none of this fun go to waste.
Particularly strong is Pita Lolohea as Ricky Potts. The Sydney-based actor’s nasal voice and awkward humour channel Richard Ayoade as Moss Maurice from The IT Crowd, especially in the absurdly hilarious song Space Age Bachelor Man.
Sophia Laurantus as Constance Blackwood is another standout casting choice. Constance is a character that can often go overlooked; her optimism in her songs can feel exaggerated. They lack the glamour of Noel’s Lament or What the World Needs.
Laurantus’ acting grounds the character. She tones down the energy, and her performance feels much more authentic. Though her song isn’t as technically complex, this more realistic take on Constance gives Sugar Cloud a lasting impact on the rest of the show.
Taking the title of most impressive vocals is Xia Lian Wilson. The talented performer has recently completed a Bachelor of Musical Theatre at the Sydney Conservatorium of Music. As Jane Doe, Wilson flexes her impressive singing skills as she tackles the notorious The Ballad of Jane Doe.
Previous renditions of Ride The Cyclone have become known for their creative set design. Despite the limits of working in Flight Path’s smaller space, Rising Arts has imbued this production with its own unique embellishments.
Set designers Sienna Bourke and Isabella McCrory have evidently made attempts to replicate the grandiosity of previous productions. The falling letters on the side of the stage and Karnak’s box successfully sell that rundown carnival setting.
Using a projector on the curtains is the strongest creative choice. In the beginning of The Ballad of Jane Doe, the black whirring projection helps transition the mood from the much lighter Space Age Bachelor Man.
Despite the smaller space, choreographer Ebony Austin’s work is compelling. The black boards in The Ballad of Jane Doe are a unique choice and add a layer of confusion as Jane Doe is obscured. This benefited the character’s struggle to find her identity.
There were a few production mishaps on opening night. The most detrimental was Eva Homola’s microphone as Ocean, which had issues for the majority of the musical. Additionally, Kay Mae White’s volume was too low, making it hard to hear her expository dialogue. While it was wonderful to see a smaller production company attempt creative staging, views of Karnak were restricted from some of the seats.
Regardless, Rising Arts Productions’ Ride The Cyclone is a worthy watch for Sydney-based musical theatre fans.
Ride The Cyclone is presented by Rising Arts Productions and runs to 22 August at Flight Path Theatre. 9b/142 Addison Rd, Marrickville NSW 2204.
Tickets: https://events.humanitix.com/ride-the-cyclone-q34yvbf9
Website: https://www.flightpaththeatre.org/whats-on/ride-the-cyclone
Socials: Socials: https://www.instagram.com/flightpaththeatre/
Photo credits: Amèlie Loew
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