Ride the Cyclone arrives in London with a cult following and plenty of curiosity around it. With music, lyrics and book by Jacob Richmond and Brooke Maxwell, and directed and choreographed by Lizzi Gee, this darkly comic musical tells the story of six teenagers who die in a freak roller-coaster accident and must each take turns proving why they deserve a second chance at life. It's a bold, unusual premise with flashes of real creativity — but also some moments that don't quite land.
The first thing to say is that this production looks great. Ryan Dawson Laight's set and costume design gives the show a striking visual identity: neon touches, fairground mood, and a sense of playful eeriness that fits the story well. The cast is also strong across the board. Edward Wu makes a memorable and witty narrator as The Amazing Karnak, Baylie Carson brings sharp energy as Ocean, and Grace Galloway's Jane Doe delivers some of the show's most haunting moments. Damon Gould, Bartek Kraszewski, Robyn Gilbertson, and Jack Maverick each get their own spotlight number, and all rise to the challenge with personality and commitment.
Where Ride the Cyclone becomes a bit more complicated is in its overall mix of tone and structure. The show jumps quickly between dark humour, heartfelt confessions, and eccentric comedy. Some audiences will love this mash-up — but for others, it may feel uneven and not so interesting. The musical often plays like a collection of individual character numbers rather than a story that grows or deepens. While each teen gets their “moment,” the bigger emotional arc can feel thin, making the central idea — only one of them can return to life — land with less weight than you might expect.
At times, the book also feels unsure whether it wants to go fully camp or fully emotional. These shifts make the overall experience feel slightly disconnected. If you're coming in expecting a strong plot with clear development, you may find the structure a bit loose.
That said, there are undeniably standout moments. The visual world is vibrant, the performances are committed, and the score has a fun mix of styles. The production team — including musical director Ben McQuigg, lighting designer Tim Deiling, video designer Nina Dunn, and sound designer Tom Marshall — creates a polished, imaginative atmosphere that supports the cast well.
Overall, Ride the Cyclone is a unique and daring musical with plenty of personality. Even if it didn't fully work for me, I can see why it has a cult following. It's inventive, unusual, and filled with creative flair — just be prepared for a ride that's less about a tight story and more about a series of character snapshots set inside a wild, colourful world.
It runs until 10 January 2026.
Photos: Danny Kaan