“Ride the Cyclone” reviewed by Wayne Mell/ 2nd look by Frank Meccia

★★★★½ — A wild, funny and surprisingly moving ride

Reviewed By: Frank Meccia

I’ll admit it: before walking into Metropolis Performing Arts Centre’s production of Ride the Cyclone, I had never seen the show or even heard much about it. What surprised me most was walking into a theater where people were laughing, clapping, and even nodding along to the music as if this were a show they had been waiting years to see.

Then I remembered something Cary told me on opening night: most of the audience is made up of family and friends of the cast. So, Frank, get off your high horse!

But after watching the show, I realized there was something else going on. Ride the Cyclone has developed a genuine following. The musical, with book, music and lyrics by Jacob Richmond and Brooke Maxwell, originally made its American debut at Chicago Shakespeare Theater in 2015. Now, more than a decade later, it has returned to the Chicago area in a production that has a very special connection to that original production.

The story is certainly not your typical musical.

Six teenagers from a Canadian chamber choir are killed in a freak roller-coaster accident. In the afterlife, they meet The Amazing Karnak, a fortune-telling machine who tells them that one of them can be given another chance at life. Each teenager must tell their story and make the case for why they deserve to return.

And there is a deadline: one hour.

Why? Because a rat named Virgil is chewing on Karnak’s power line, and when that power is gone, Karnak will be gone too.

Yes, you read that correctly.

A talking fortune-telling machine, six dead teenagers, a rat, and a contest for resurrection somehow become a hilarious, bizarre and surprisingly emotional musical about life, death, regret and what makes a life worth living. Metropolis describes it as “hilarious, macabre and unexpectedly moving,” and that is a pretty accurate description.

There is also a wonderful connection between this production and the show’s Chicago history. Lillian Castillo, who directs this Metropolis production, was an original member of the American cast at Chicago Shakespeare Theater in 2015, where she originated the role of Constance Blackwood. Now she gets to return to the show from the other side of the stage.

And what a cast she has assembled.

Dave Honigman as The Amazing Karnak may have been my biggest surprise. He played the role so realistically that I found myself looking twice. He never seemed to break character, and his movements, voice and delivery made you believe you were actually watching one of those old arcade fortune-telling machines come to life. It is an unusual character, but Honigman completely owns it.

Then there is Amelia Tam as Jane Doe. From the moment her head comes down onto the stage and is attached to her body, you know you are in for something extraordinary. Jane Doe is mysterious, strange and heartbreaking, and Tam brings an incredible vocal presence to the role.

Alex Merkel as Ocean O’Connell Rosenberg plays the self-centered, 4.0 honor student who believes she can do no wrong. Merkel gets every bit of Ocean’s personality and delivers the character with terrific comic timing. And then she opens her mouth to sing, and you realize just how strong her voice is.

Diana Marilyn Alvarez as Constance Blackwood is perfectly cast as the shy, seemingly timid wallflower who has a secret she needs to share. Alvarez gives Constance both the awkwardness and the emotional depth the character needs. It is hard to imagine anyone better suited for the role.

Eric Amundson as Mischa Bachinski is another terrific casting choice. The accent, the attitude and the comic moments all work beautifully. Amundson, who has appeared on numerous Chicago-area stages, knows how to make the most of every opportunity he gets onstage.

Peyton Owen as Noel Gruber gets to play another character with plenty of personality, and he takes full advantage of it. He belts out the musical numbers and handles the comedy beautifully. Even when a technical problem with his microphone popped up, Owen stayed cool under pressure and continued delivering the performance.

And Eldon Warner-Soriano as Ricky Potts helps bring the entire group together. Every member of this ensemble has a moment to shine, and musically, the cast is remarkably strong.

Music Director Carolyn Brady deserves plenty of credit as well. I particularly liked the decision to have the orchestra conducted from the top of the set, putting the musicians into the world of the production rather than hiding them away. It gives the show another layer of energy. Metropolis lists Brady as music director, with Mandy Modic handling choreography.

The technical side of the production also works remarkably well. Kyle Aschbrenner, stage manager, and Alexandra Raffini, assistant stage manager, help keep this complicated production moving smoothly. With its semicircular playing space, projections, lighting, costumes and quick changes, there is a lot happening, yet it never feels out of control.

And that is probably the biggest compliment I can give the production: it feels effortless.

This is also the first Main Stage production of Metropolis’ new season under Artistic Director Johanna McKenzie Miller, and it certainly makes a statement about where the theater is headed. Miller has chosen a show that is unusual, energetic, funny, musically demanding and filled with young talent.

It also proves something I have said many times: you don’t always have to go into Chicago to see a great musical.

Metropolis Performing Arts Centre is right in downtown Arlington Heights, an area that has become a terrific destination for dinner, shopping and entertainment. There are restaurants everywhere you look, making it easy to turn a trip to the theater into a full evening out.

And if Ride the Cyclone is any indication of what is coming in the new Metropolis season, subscribers are in for an interesting ride.

The production runs September 16 through October 25, 2026, with a running time of approximately 90 minutes without intermission. Performances are generally on Thursdays and Fridays at 7:30 p.m., Saturdays and Sundays at 2 p.m. and 6:30 p.m.

Tickets are currently listed at $49 for regular admission and $25 for students. The Metropolis box office is at 847-577-2121, and the theater is located at 111 W. Campbell Street in downtown Arlington Heights.

So, if you are looking for something a little different this Halloween season, take a chance on Ride the Cyclone.

I went in not knowing what to expect.

I came out understanding why people were laughing, clapping and singing along.

Well done, Metropolis. This is one wild ride worth taking.