Ride the Cyclone - 3.5 out of 5 stars
Hills Musical Company
TICKETS: https://www.trybooking.com/au/event/1619061
Ride the Cyclone has long been one of my favourite musicals. I often think of it as Cats but without the furries: six young people compete for the opportunity to return to life and live it to the fullest. Beneath the dark humour and absurd premise is a show with a beautiful message: no matter what life throws at us, the greatest thing is that we are given the opportunity to live it. It's a celebration of life in all its messiness, and a reminder not to take that opportunity for granted.
Bringing a tightly written musical to life is no small feat,
but Tammy Shields' direction supports Richmond and Maxwell's work by allowing
the material to speak for itself rather than being too clever for the sake of
it. It's a show that knows what it wants to be, and for the most part, it delivers.
Jemma Allen's choreography is well executed throughout, combining with Shields'
blocking seamlessly.
Emma Palumbo cuts an Ocean O'Connell Rosenberg you’ll love
to hate from the start. Rebelling against her hippy, carefree parents by
becoming a straight-A, no-nonsense, self-promoting neo-Darwinist, Ocean is a
character who takes herself very seriously. Ride the Cyclone is
ultimately about her journey and change, and Palumbo takes Ocean and the
audience on that journey with a believability and vivaciousness to be envied.
Jarrad Prest's Noel Gruber is a hopeless romantic, longing
for a tragic life that will inspire poetry and novels remembered for the ages.
Prest captures Noel’s essence, revelling in the camp and tragedy of Noel's
fantasy.
Sebastian Alexander Schulz's Mischa Bachinski is an awkward,
too-cool-for-school dude, and his high-energy autotuned rap number is a
particular highlight.
Bennett Blaine, stepping into the role of Ricky Potts as the
production's swing, brings plenty of enthusiasm and clearly relishes the
opportunity. Unfortunately, Blaine is particularly let down by the sound mix
during "Space Age Bachelor Man", with much of the lyrics difficult to
hear.
Maddison Fox's Jane Doe is suitably creepy and stilted,
moving around like a curious child's doll, not quite bending at the knees. Her initial
vocals hint at a stellar performance to come, which is delivered in full during
"The Ballad of Jane Doe". She earns an extended applause break from
the audience, with Fox capturing an ethereal, otherworldly quality through her
precise pitch and vibrato-less delivery before switching into the jazz-inspired
section and showcasing another side of her vocal ability. At just 17 years of
age, Fox is someone to watch.
Matilda Boysen's Constance Blackwood is an eager-to-please
nice girl pushed until she can't take anymore. Unfortunately, Boysen's voice was pushed a little too hard, with moments sounding strained. Notably, continuing
into "Jawbreaker / Sugarcloud", her vocals remained largely in her head
register to protect herself from further strain. Whilst glad she didn't push her voice to breaking point, the lack
of a belt for "Sugarcloud" does leave what would have inevitably become the emotional high
point of the show's thesis underwhelming.
The entire ensemble of kids works well together, with Blaine
fitting seamlessly into the group. They are well-rehearsed and Shields has
clearly put the time in to ensure each performer knows their own part but also what
everyone else does. There are plenty of comedic moments between characters,
particularly when they interact in the background or simply ignore Ocean, which
the audience clearly enjoys.
The visual elements of the production are another reason to
be pleased with this production. Bridget Dinning and Shields' set provides a
mildly cluttered warehouse vibe, although this could be dialled up to 11
without detracting from the performance.
The Amazing Karnak, the animatronic fortune teller
constructed by Claire Birkbek and Matthew Stojko, is a highly detailed piece of
work reminiscent of the old carnival fortune teller machines. Omkar Nagesh
voices and puppeteers Karnak on stage, avoiding the temptation to fall into a
stereotypical accent while maintaining the character's mysterious and aloof
nature. I wish the sound design incorporated additional vocal modulation for
select lines for further emphasis.
The rear wall projection/ illuminated CYCLONE letters add
further interest to the set and are used extremely well, particularly the
projections of the characters' life stories. Costumes are equally effective,
moving between mundane school uniforms and vibrant fantasies of each
character's inner life.
Nick Thomson's lighting design is incredibly well done, with
excellent timing supporting the cast and reinforcing the storytelling. The one
let-down is the undisguised lighting fixture behind the CYCLONE portal. A
clever idea for shadow projection, but the lack of stage depth means it doesn't
quite achieve the aimed effect.
Unfortunately, the sound mix is the production's biggest technical
let-down. While Dylan Rufus runs a tight band, the balance between pit and vocalists
is inconsistent. At times the band overpowers the singers, while at others, the
vocals simply aren't loud enough – this isn't confined to the louder numbers
either – I know this musical exceptionally well and struggled to hear/ understand
1/3 of the lyrics. For a musical where much of the characterisation and
storytelling is carried through the score, this is significant. Particularly
frustrating is the imbalance seems to remain throughout with little evidence of
the mix being adjusted on the fly to support the performers. I’m sure Rufus and
sound operator can work together to find an appropriate balance for the remaining
season, because the performers deserve to be heard.
HMC’s Ride the Cyclone has a tight-knit cast, a tight
band, excellent set and costume design, and lighting that supports the
storytelling. Shields has clearly built a cohesive production that trusts the
strength of the material and the performers. However, the sound mix is more than
a technical annoyance. Combined with the vocal shortcomings of
"Sugarcloud", it means the emotional impact of the story slips away
just when it needs to land. With more care given to the sound balance, this
could easily be a 4.5-star show. There is plenty to enjoy, but the technical
issues make it difficult to give it the score it might otherwise deserve.
- Scott
Postscript: Since publishing this review, I've been advised that Matilda Boysen has since been diagnosed with laryngitis. I wasn't aware of this at the time, but it provides context for the vocal strain observed during the performance. Continuing such a vocally demanding role while unwell is no small feat, and I wish Matilda a speedy recovery. - Scott
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