The Unforgettable Thrills of ONU’s Ride the Cyclone

This article was written by Carys Williams and Alison Ringhiser.

As someone with no experience in musical theater (except attending mediocre high school plays), my expectations entering ONU’s production of Ride the Cyclone were low. I was so accustomed to low-quality productions and lackluster performances that I never even considered attending a school production. That is, until I was invited by Northern Review to cover the event. 

Brief Description of Plot and Story

Ride the Cyclone tells the story of five high school students from a small Canadian school who meet their untimely demise after hopping on “The Cyclone,” a roller coaster located in their hometown, Uranium City. Their souls are trapped in a carnival of the afterlife, awaiting their chance to be chosen by a mysterious fortune-telling machine, the Amazing Karnak, to win a second chance at life. This performance somehow blended humor, heartbreak, and the unsettling in a way that was both cohesive and entertaining. Each character, through their songs and backstories, expertly conveyed the trials of their past lives and their uncertain futures, making Ride the Cyclone a dark yet vibrant exploration of hope, regret, and the teenage experience.

Production/Technical Aspects 

Upon entering the Stambaugh Studio Theater, even with my limited knowledge, I realized something immediately: this was not your average theater. The stage was completely surrounded by the seats, meaning that the audience encapsulated the performers. From the moment the audience enters, they are thrust into the world of the show. In fact, every seat in the house had a unique perspective. I looked to my right and locked eyes with a gothic carnie, who was standing directly in front of me. Not only was the stage unconventional, but the performers were interacting with the audience!

It became apparent to me that every aspect of the performance was designed to disturb and thrill the audience–much like a rollercoaster. The set, designed by Brian C. Seckfort, was a whimsically unsettling carnival of the macabre.

Every aspect–the meticulously detailed set, the interactive actors, and the main performers–were working together cohesively in-the-round. This left me wondering, “How do the actors even know where and when to go?” Certainly, this circular stage had to have posed an extreme challenge to the performers, as they had to ensure that each audience member could see the performance. They had to act, dance, and sing while simultaneously ensuring that they weren’t obstructing the audience’s vision. Talk about a quadruple threat! 

I asked choreographer Katja Roberts how theater in-the-round differed from conventional stages. “It was very uncomfortable at first,” she said. “As a performer, the only option has always been to go ‘out to the audience,’ ‘play with the audience,’ and ‘own the stage.’ But in the round, if you ask me to do that, I’d respond, ‘Well, which way?’ or ‘Which audience?’” The challenge of performing in such a space caused them to adapt. Actors interacted directly with the audience, so every night offered a different experience, depending on where you sat. 

The set itself, described by Roberts as a “jungle gym,” was designed with multiple levels to accommodate the immersive, all-around seating arrangement. “Incorporating the set and making sure someone could always be seen was incredibly difficult, especially with the different levels,” she noted. “That’s when the corners became my best friend.” Despite the technical challenges, the set’s haunted carnival theme worked flawlessly with the darkly comedic nature of the show, bridging the gap between creepy and playful. “It was a real-life puzzle,” said Roberts, and it definitely felt that way. The set gave the cast freedom to explore new ways of interacting with each other and the audience. This spontaneity made the show fresh every single night.

The costumes, designed by Ohio Northern Costume Shop Manager and Resident Designer Ameera Ansari, did more than just dress the characters–they oozed personality. Each piece was an extension of who the characters were, spilling out their quirks, fears, and desires for the audience to see. Constance’s bright, playful outfit screamed her (seemingly) bubbly nature, while Virgil the Rat’s dark, tattered look hinted at his troubled soul. From the second the characters stepped onto the stage, it was abundantly clear that their personalities were not just in their actions or words; they were stitched right into the fabric of their costumes.

Actors 

A production this impressive involves the seamless cooperation of dozens of people. The designers (light, sound, set, and costume), the director, and the ensemble, but I would be remiss not to mention the brilliance of the main cast. Each actor breathed life into their character, making them as hauntingly real as they were unforgettable.

Grace Bissonette, junior Musical Theatre major, portrayed Jane Doe. Her performance was profoundly moving, as her character–trapped in between life and death–conveyed an emotional depth that echoed through every note. Bissonette’s voice was a standout, especially during her solo “The Ballad of Jane Doe,” where she gave the character a sense of longing and beauty amidst the chaos. 

Andi Brooke Keller, as Ocean O’Connell Rosenberg, was a standout as well. She brilliantly captured Ocean’s transition from a self-absorbed, attention-seeking teen to a more self-aware and empathetic person. Keller’s ability to show Ocean’s emotional growth–from selfish to selfless–added a powerful layer to the character and was a highlight of the show.

Madisen Schenk, senior Musical Theatre major, portrayed Constance Blackwood. Schenk brought complexity to her character, whose bubbly exterior covered an insecure interior. Schenk captured Constance’s seemingly carefree attitude, while subtly revealing the vulnerability beneath. As Schenk explained, “she was very girly, bouncy, and at times goofy. I loved the time I got to spend with her and the rest of this cast.” But, it was clear that this energy was a front for her deeper emotional struggles. The intimate, in-the-round staging added an extra layer of connection, as Schenk noted: “I could see everyone in the audience, and while it was scary at first, it became one of my favorite parts of the show.” That space allowed her to engage directly with the audience, making each performance feel unique. “The show changed every night because the audience changed every night. It was truly immersive for everyone involved,” she added. Schenk portrayed the part perfectly. She was that bubbly girl, but her transition to being open both with her friends and the audience captured that poignancy–it was all just a part of the ride. 

As a non-frequent musical-goer, my limited knowledge can only offer so much. So, Alison Ringhiser, the co-author of this article and retired thespian, will shed some light on the more intricate details.   

What We Liked the Most

Choosing our favorite number in this production was an impossibly hard task. Taking the entire life of a character after they die and being given 3-4 minutes to perform their greatest desires and regrets is a task unique to the performances in Ride the Cyclone. We can’t help but feel that as an audience member, you have just begun to understand and love these characters before you have to say goodbye. But these ONU performers took the few minutes they had for their solo songs and gave a performance memorable months later. 

From the unforgettable alien cat rock ‘n roll performance of Ricky Potts, played by Cam Geoffrion, to the techno rap turned emotional ballad of Mischa Bachinski, played by Ren Gleason, this musical boasted extremely difficult songs to perform, and every character impressed. And of course, ‘Sailing Through Space’ combined all of these incredible voices into a beautiful symphony. 

But if we were forced to begrudgingly pick a favorite song, it would have to be ‘Noel’s Lament.’

Matthew Cook, sophomore Musical Theatre major, was one of the dance captains on the cast of Ride the Cyclone and played Noel Gruber. When we first meet Noel, he is just another performer in the Saint Cassian Chamber Choir. You wouldn’t expect that, just 10 minutes later, he drops the drab school uniform and adorns a burlesque ensemble ripped straight from the stage of Chicago. The performance, the technicality, and the four inch heels all combined for a truly jaw-dropping impression. In our humble opinions, Cook’s performance rivals the ones given by broadway actors eight times a week. In fact, the $5 student ticket to watch Cook’s remarkable performance felt like highway robbery. This performance is remembered with the same awe as the first impression of it even several weeks later. 

Lede (but at the end)

Despite our difference in experience, Alison and I both agree: if you haven’t yet experienced one of ONU’s theater productions, you’re missing out. The dedication of the entire team–whether it’s the designers transforming the space into a haunted carnival, the choreographers turning a challenging in-the-round stage into a fluid, immersive experience, or the actors bringing each character to life with nuance–creates a performance that sticks with you long after curtainfall. 

Whether you’re a seasoned theater-goer or someone like me who had never considered stepping foot in a college production, I can guarantee that each show is an unforgettable experience. The hours of rehearsal, the collaboration, and the passion these performers bring to the stage make it clear: this is theater at its finest.