Richmond/Maxwell’s Witty, Whimsical Musical Spotlights Stellar Ensemble

by Kim Waldron

The standard musical does not start with a death, let alone half a dozen, but there’s not much standard in this off-beat, yet upbeat production.

Six teens killed in a carnival ride accident must compete for one chance to return to life in a contest run by a mechanical fortune teller in a booth. Happily, the story leans ghostly over grisly, and character over gimmick. There’s plenty of smart humor and emotion in the story and songs. Those songs hit a lot of genres: ballad, rap, torch song, glam rock, high school chorus.

Kaylyn Dowd is alarmingly perfect as The Amazing Karnak, the mechanical fortune teller doll in the booth; both her facial expressions and costume are flawless. The program says she also works in AI, so I’m tempted to demand proof she is human.

The six teens do not go gently into that good night; instead, they sing their hearts out and each has an emotional, soul-searching tale to tell. When they find themselves in a mysterious afterlife, Karnak orders that only one of them will return to life. They must compete to choose that one winner, themselves.

In the afterlife, Grace Margaret Craig is unforgettable as Jane Doe, who shows up as an unnamed presence. Craig generates an almost visible aura of spookiness. Who knew eyelash batting could be scary? Every member of this strong ensemble sings wonderfully, Grace is positively operatic.

Anne Norland plays Ocean O’Connell Rosenberg, the enthusiastic, self-centered  overachiever. Ocean is so stuck on herself that she alienates her friends. She has the biggest arc of any character, and she delivers.

Jon Gary Harris plays Noel Gruber, a flamboyant gay teen—well, as much as he can be in small town Saskatchewan, Canada.  His torch song is a knockout, as his secret Marlene Dietrich obsession breaks out into gorgeous, campy reality.  The glamorous costume change and sultry dance sparks the show.

Matt Skinner plays Mischa Bachinski, a sad Ukrainian refugee student. We think he’s the typical tough guy rapper until we learn his history and his favorite TV show. Ultimately, he just wants to go home to his girlfriend. Talented Skinner masterfully captures the complex Mischa with verve and gusto.

Milo Boland plays Ricky Potts, a mute student who was pitied in life. First, Potts deftly displays Milo’s awkward sweetness. Then he explodes into the personification of his wild, comic book imaginings.

Sage Alberto plays Constance Blackwood, the not cool, meek teen. Until she’s not. Whatever her mood—panicked, awkward, or exuberant—she takes us with her all the way. Alberto is always  compelling. Her song, the last of the teens’  introspective  numbers, is glorious.

I particularly enjoyed Director Stephanie Temple’s choreography for the teens as they are propelled about the stage by the fortune teller’s supernatural voice.

“Ride the Cyclone” is not the same old, same old.  It’s weird and funny, with a strong ensemble in fine voice. I had fun. Plus, at my age, I appreciate any story that cheats death. Whatever your age, I recommend this thrilling ride.

“Ride the Cyclone” –book, music, & lyrics, by Jacob Richmond & Brooke Maxwell, directed & choreographed by Stephanie Temple, musical direction by Ben Prince, costumes by Jorge R. Hernandez, & set design by Matt Owens.

—at New Conservatory Theatre Center, San Francisco. Info: nctcsf.org – to October 27, 2024.

Cast: Sage Alberto, Milo Boland, Grace Margaret Craig, Kaylyn Dowd, Jon Gary Harris, Anne Norland, and Matt Skinner.

Banner photo: Milo Boland, Sage Alberto, Jon Gary Harris, Anne Norland, & Matt Skinner. Photos: Jenni Chapman

 

Note: NCTC delights in providing extra goodies for their audiences, and this production is no exception. If you go on “Whimsical Wednesday” you can have your fortune read by Tarot, Mahjong tiles, or playing cards before the show.

For every evening show the lobby and bar opens 90 minutes before curtain with an offering of carnival games to play.

October 3 is an enhanced safety performance. There will be an after-performance discussion with the director and cast after the Oct. 6 matinee. The show is 90 minutes without intermission.