Misha Sharivker, Eric Martin, Alex Yoannou, Sarah Evasiw, Claudia Adamo and Shannon Murtagh in RIDE THE CYCLONE | Photo by Taylor Long
I only just recently discovered the Canadian musical Ride the Cyclone; having fallen hard for its fun, heartfelt, totally cult classic vibes, I was super stoked for Shifting Ground Collective’s production—which is, remarkably, my first experience with them! And I enjoyed the shit out of this! Mixed feelings aside, it’s a very good time with lots of talented people rocking my world.
Jacob Richmond and Brooke Maxwell’s musical is so very clever and fun and touching. 郝邦宇 Steven Hao’s sincere, energetic and artsy staging enhances most of its charms. And this cast is a charismatic delight. Everyone—across the stage, up and down the Annex Theatre’s prominent converging stairways—is serving! I felt like an angsty teenager again. Which is really saying something because that was, well, a while ago.
There are so many lovely bits of wisdom—appreciating the time you have, finding pride in the mundane things that add meaning to your life and acknowledging the plight of others. Conceptually, it’s got a lot in common with CATS (wacky characters introducing their deal through song while in competition for a chance at re-birth) and Rocky Horror (letting your freak flag fly!).
The story opens on a quintet of teenagers dying in a roller coaster accident. This is Saskatchewan’s Saint Cassian High School Chamber Choir and they are joined in this whimsical purgatorial space by a mysterious, unnamed sixth victim—Jane Doe, a girl who lost her head and was never identified. Unlike the rest of this troupe, who are very forceful in their self-assertions, she doesn’t know who she is or where she came from. They must vote unanimously on who amongst them will get a chance to live again. Cue sassy, campy musical stylings from a variety of genres as they each gives us a taste of their inner dream-selves.
One of the absolute bops I’ve been obsessed with is Ocean O’Connell Rosenberg’s “What the World Needs” and though it isn’t one of Sarah Evasiw’s best moments in the show—that’s absolutely Ocean’s redemption—she does nail the performative arrogance that makes her a real piece of work we can’t help but love to hate.
Eric Martin’s Noel Gruber, the gay boy who dreams of being “That Fucked Up Girl,” a tragic, 1930s French sex worker. It’s a whole, fabulous thing; but it’s in his sweet, budding friendship with Alex Yoannou’s Mischa Bachinski where they both shine. Mischa is a bad boy, a self-proclaimed Ukrainian gangsta rapper-autotune enthusiast who ends up being more open-minded and vulnerable than anybody suspects. He and Gruber bonding, huddled over a flask of booze, is a lovely moment and one of my absolute favourites.
“Space Age Bachelor Man” isn’t a number I’ve been especially fond of, but Misha Sharivker as Ricky Potts really got his hooks into me when he finally bruks out, with this tight cat-paw t-shirt, bright red basketball shorts and adorably wide-eyed, awkward confidence. The cat masks and prancing are *chef’s kiss*.
Shannon Murtagh has a stunning voice and is entirely sympathetic as Jane Doe, but she hasn’t been designed to be at all creepy, which undermines so much of the humour and intrigue. Lines like “and she’s a freaky monster” make little sense here. Her final moments though—and I don’t want to spoil the reveal by even hinting at it—really hit me in the feels.
Constance Blackwood, the “nicest girl in town,” is initially a pushover, even her “best friend” Ocean runs roughshod over her. Her big monologue about losing her virginity to a gross carny and finally realizing her life’s worth just as it’s ending, is some of the finest writing in the show. Claudia Adamo delivers a truly transcendent rendition of “Jawbreaker / Sugar Cloud.”
And now we come to Karnak, our narrator—a mechanical fortune teller who isn’t long for this world either because of a rat chewing through his wires. Here is where one of my main issues with this production rears its multitude of heads. This role has been split up between Tanner Hamlin, Declan Hewitt, Emma Kidd, Kate Megginson, Kristen Thompson and Rebecca Ward—who perform it as a chorus. The glowing orb (crystal ball) they toss about is cool and I dig how Claudia Matas has dressed them up as stylsh, macabre carnies, but they do cause some confusion. There are just too many people on stage, making it harder to track our main characters, and so many of his great lines get lost in the shuffle.
Most problematic though: In his sound design and engineering, Anthony Allan hasn’t quite landed on a proper audio mix. So many of the vocals are muffled under the music. For anyone who isn’t already familiar with the show, I’m curious how much specific sense these compelling performances will make.
Meredith Wolting’s set and props have Big Top circus energy and feel giddily haphazard—another whiff of CATS here, very reminiscent of that show’s iconic junkyard set. There are streamer flags and string lights and those carnival marquee letters spelling out CYCLONE. Mathilda Kane’s lighting enhances whatever sense of chaos, ghoulish ambiance or sincere intimacy is required. The set dressing and Madison Arnason’s exuberant choreography conspire in a clever and innovative evocation of Karnak near the end; though, alas, it’s too little, too late. I think this could have been a useful recurring device throughout and would have made him a more defined presence.
It’s got some weaknesses of concept and execution, but where it succeeds, Shifting Ground’s Ride the Cyclone is exhilarating and poignant. I fully swooned at the “new birthday” cupcake scene!
Ride the Cyclone
September 24 to October 4, 2025
Annex Theatre
(736 Bathurst St.)
95 minutes (no intermission)
Sarah Evasiw and The Company of RIDE THE CYCLONE | Photo by Taylor Long
It’s a shame, Istvan, that you didn’t have a positive impression of the sound mix. I attended the performance last evening and thought the audio was outstanding. The audience seemed to be clearly hearing everything, and the energy in the room, reflected in their loud and enthusiastic applause, suggested they were fully engaged and enjoying the show.
Of course, experiences can vary depending on seating or personal expectations, but I felt the production team did an excellent job overall.
Perhaps the mix had improved when you saw it and the vocals were clearer. Or perhaps I just have wildly different expectations. Regardless, I have to be truthful about my experience, though I think I expressed clearly how enjoyable the production was overall.
Very happy you could hear the vocals fine and that people, generally, are responding enthusiastically! Thanks for offering your perspective. As you suggested, experiences are subjective. 🙂
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