Review: ‘Ride the Cyclone’ at The Lucille Lortel Theatre

In 1964 Bob Dylan wrote that ‘the times they are a-changin’, and he might just as well have been referring to the musical theatre in America as he was to the war in Vietnam. Ever since Galt McDermott composed Hair to prove that change was  a-comin’ on Broadway as well, every now and then there’s an earthquake-type eruption in the New York theatre district which makes room for the likes of Capeman, The Last Ship, Tarzan, Rockabye Hamlet,  and so many other shows which tried to introduce Broadway to the new music – the music of the new generations. Some like In The Heights, Kinky Boots, Hamilton were attached to books by established librettists or, in the case of  Heights and Hamilton, to quadruple-threat talents like Lin Manuel Miranda who was raised on a diet of musical theatre from the Golden Age. In recent seasons, more of the successful pop writers have felt the urge to give Broadway a whirl, and in most cases they’ve come a cropper, for they hadn’t figured out that it takes  more  than just a sound and a beat  to create a musical work that will endure. Gifted writers like Paul Simon, Cliff Jones, Phil Collins, Sting, Stew (titans all in the pop field) wrote shows that crashed and burned, and for good reason. I remember Mr. Collins for example, in an interview when his Tarzan opened, stating he had been shocked to learn how his songs had been transformed into something quite new when actors added characterization to them in performance. People come to see musical theatre  to be entertained, yes — but also to be informed or enlightened or moved or involved.

The cast of ‘Ride the Cyclone.’ Photo by Joan Marcus.

The authors of Ride the Cyclone clearly wanted to join the pantheon of composers and authors who have learned their craft, honed their talents, and remembered that a musical is not a concert. It’s not an eclectic connecting of songs that don’t tell a story which involves its audience. In the beginning (and it wasn’t that long ago) musicals were crude, but they evolved through the talents of American immigrants who wanted to break from the traditions of the European operetta to their new country’s musically set hopes and dreams, entertainingly enriched by the songs and stories of George M. Cohan, then Irving Berlin, and finally Rodgers and Hart, Cole Porter, George Gershwin. Their work influenced and then trickled down effect to Stephen Sondheim, Jerry Herman, Kander and Ebb, Bock and Harnick, and their colleagues. But even these masters learned that a popular score alone did not make a hit musical show. Audiences learned to care about the stories these songs were attached to; light-hearted stories like those of the twenties and thirties, which evolved into the master works of Rodgers and Hammerstein, whose scores were attached to tales of substance, in which characters were allowed to reveal complexities, to add dimension to the stories they inhabited.

Alex Wyse as Ricky and the cast of ‘Ride the Cyclone.’ Photo by Joan Marcus.

Change is inevitable, but it brings great risk along with it. Brooke Maxwell, a free lance musician-educator based out of Canada, and Jacob Richmond, a prize-winning playwright, are the authors of book, music, and lyrics for Ride The Cyclone, now playing at the Lucille Lortel Theatre off Broadway. Mr Richmond’s work in Victoria, Canada, has, in his own words:

sought to create raw theatrical events that represent the modern era….a barrage of styles, opinions, songs, genres and acts that create a central theme rather than a linear story.

We are told at the start by a Swami in a glass booth that we are about to meet 6 victims of a collapsed amusement park Cyclone ride, all of whom are dead. And there’s the rub — The authors have come up with an evening that is more a recital or concert than a musical. Without a story, we have no one to root for, and I remained unengaged. That’s a pity because everything else about the show is first-rate. The company of  young performers – Lillian Castillo (Constance), Gus Halper (Misha), Karl Hamilton (Karnak), Emily Rohm (Jane Doe), Tiffany Tatreau (Ocean), Alex Wyse (Ricky), and Kholby Wardell (Noel) –  are each given separate opportunities ranging from “Noel’s Lament” which offers Kholby Wardell a chance to strut his stuff, to “Jane Doe” in which the lovely Emily Rohm, playing a woman whose body has been separated from her head, somehow retains a very warm and fluid soprano voice. The others, separately and as an ensemble, sing the dozen songs which will lead to them picking one victim who will return to life.

Directed and choreographed by Rachel Rockwell, who is Chicago-based, with excellent credentials in musical theatre, a cast of seven does bring energy, enthusiasm, and talent to the setting of a dilapidated warehouse strewn with the wreckage of the Cyclone. There they must remain until their vote sends one of them back to the living. Alas, we like them all, but I for one did not get to know them well enough to care whether or not the mechanical Swami could deliver on his promised prize. Pockets of admirers gave the game cast well-earned encouragement at the calls.

Running Time: 90 minutes, with no intermission.

Ride the Cyclone is playing through December 29, 2016, at the Lucille Lortel Theatre – 121 Christopher Street, in New York City. For tickets, go to the box office, call OVATIONTIX at (212) 352-3101, or toll free 866-811-4111, or purchase them online.

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Richard Seff
RICHARD SEFF has been working in theatre since he made his acting debut in support of Claude Rains in the prize winning DARKNESS AT NOON, and he agreed to tour the next season in support of Edward G. Robinson, which took him across the nation and back for nine months. When it was over and he was immediately offered another national tour with THE SHRIKE with Van Heflin, he decided to explore other areas, and he spent the next 22 years representing artists in the theatre as an agent, where he worked at Liebling-Wood, MCA, eventually a partnership of his own called Hesseltine-Bookman and Seff, where he discovered and developed young talents like Chita Rivera, John Kander, Fred Ebb, Ron Field, Linda Lavin, Nancy Dussault and many others. He ultimately sold his interest to ICM. When he completed his contractual obligation to that international agency, he returned to his first love, acting and writing for the theatre. In that phase of his long and varied life, he wrote a comedy (PARIS IS OUT!) which brightened the 1970 season on Broadway for 107 performances. He became a successful supporting player in film, tv and onstage, and ultimately wrote a book about his journey, SUPPORTING PLAYER: MY LIFE UPON THE WICKED STAGE, still popular with older theatre lovers and youngsters who may not yet know exactly where they will most sensibly and profitably fit into the world of show business. The book chronicles a life of joyous work working in a favored profession in many areas, including leading roles in the regional theatres in his work in Lanford Wilson's ANGELS FALL. His last stage role was in THE COUNTESS in which he played Mr. Ruskin for 9 months off Broadway. Five seasons ago Joel Markowitz suggested he join him at DCTheatreScene. His accurate and readable reviews of the New York Scene led, when the time was right, for his joining DCMetroTheaterArts to continue bringing news of the Big Apple's productions just to keep you posted. He is delighted to be able to join DCMTA and work with Joel and hopes that you like what he has to say.


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