'Ride the Cyclone' at The 5 & Dime Is a Haunting, Hilarious Journey Beyond the Grave

Death comes suddenly for the six teenagers of Ride the Cyclone when a faulty roller coaster derails at a grim, run-down carnival. Trapped in a surreal limbo, the chamber choir of the St. Cassian High School of Uranium City, Saskatchewan, meets The Amazing Karnak, a mechanical fortune teller who offers one of them the chance to return to life. To earn their second chance, the teens must share their stories, revealing their deepest dreams, regrets and desires. As they each take the spotlight — sometimes with humor, sometimes with heartbreaking honesty — they wrestle with the randomness of fate and the legacy they leave behind.

Ride the Cyclone is a darkly comedic and deeply moving exploration of life, death and the stories we tell to make sense of it all. Under the direction of Anvar Gashimov, the show balances dark humor and emotional depth, brought to life by a spectacularly committed cast and a design team that knows exactly how to enhance the eerie, absurd world of the musical. Each performer breathes life into the characters caught in limbo, delivering a whirlwind of humor, heartache and theatrical magic. With gripping performances, stunning technical execution and an atmosphere both haunting and electrifying, this co-production by The 5 & Dime and Swoop Troupe captures the full emotional scope of one of musical theater’s most strikingly original works.

A Cast That Shines in the Afterlife

At the heart of the show, Austin Welles delivers a magnificent performance as the omniscient (and delightfully sardonic) Karnak. His precision in both physicality and vocal delivery makes the fortune-telling machine feel simultaneously robotic and deeply human. His deadpan comedic timing is razor-sharp, yet there is an undercurrent of something almost tragic in his presence, making his character as captivating as he is unsettling.

Sadie Sims captures Ocean O’Connell Rosenberg’s overachieving bravado with precision and flair. Her vocal performance is powerful and nuanced, and she brings the necessary comedic bite and commanding presence to the role. Ocean’s bold confidence drives the show forward, her delivery sharp and unapologetic. When the script calls for emotional depth, Sims shifts gears seamlessly, adding layers to the character beyond just her sharp-tongued exterior.

Terry Star’s Noel Gruber is another standout, delivering an effortlessly hilarious performance with impeccable comedic timing. From his droll one-liners to his dramatic flourishes, he embodies Noel’s flamboyant theatricality with ease, making even the darkest quips land with charm. His vocals are equally strong, and his transition into the surreal Monique Gibeau fantasy is executed with both humor and heart — and, crucially, sex appeal. Star fully embraces the character’s absurdity, making it as glamorous as it is ridiculous, and his commitment to Noel’s deep longing for a more extravagant, meaningful existence adds layers of poignancy to his performance.

Mischa Bachinski (Leland Locke) is a surprising force of nature, balancing swagger with heartfelt vulnerability. His Ukrainian accent is impressively consistent, and his rage-fueled charisma is at full power, especially in the riotous “This Song Is Awesome.” But it’s in “Talia” where Locke truly shines, delivering spectacular vocals and raw emotion. Caden Christel crafts a compelling arc for Ricky Potts, evolving from quiet outsider to commanding presence. His performance balances sincerity with unexpected humor, making Ricky’s surreal intensity both striking and memorable.

Jo Lynn Fletcher’s portrayal of Jane Doe is breathtaking. Every aspect of their performance — from their hauntingly beautiful vocals to the smallest, most deliberate physical movements — is mesmerizing. Fletcher’s delightfully awkward interactions with Randolph’s Constance and Christel’s Ricky are simultaneously creepy, hilarious and surprisingly poignant. Fletcher quietly commands the stage with their magnetic presence. Their flawless vocal control and crystal-clear tone are nothing short of stunning, filling the theater with an ethereal, spine-chilling resonance.

Naomi Shae Randolph’s Constance Blackwood delivers one of the show’s most emotionally demanding moments with absolute finesse. Her monologue is captivating, and her vocal delivery in “Sugar Cloud” is both dynamic and deeply heartfelt, making the song a showstopper.

Beyond the lead roles, the ensemble deserves immense praise. Each member — Savanna Dribble, Anecia Francis, Miles Genaovargas, Lucy Graff, Hugh Miner, Gianna Patrick, Chailyne Perez Rodriguez, Quill Wettstain and Andre Jon Valencia — brings depth and individuality to the stage. Rather than fading into the background, they each create fully realized characters, adding to the immersive world of the show. Their dance performances are also spectacular and vibrant, highlighting the show’s stunning choreography.

Direction, Choreography and Technical Brilliance

The technical aspects of this production are just as strong as the performances. Andre Jon Valencia’s set design, combined with Logan Forbess’ technical direction and sound design, creates a visually and aurally striking backdrop that feels both whimsical and foreboding, fully immersing the audience in the eerie world of the show. In addition to her impressive work on Karnak, Candice Johnson’s incredible makeup and wig design for Jane Doe add an extra layer to her ghostly presence, making the character feel otherworldly. The costume design by Max Cordeiro is subtly brilliant, especially on Jane Doe, with her character’s outfit looking just different enough from the rest of the choir to feel slightly off-kilter — an unsettling but masterful touch.

Gashimov’s direction keeps the production tightly paced, ensuring the show’s mix of dark humor, existential dread and heart remains perfectly calibrated. Gashimov also shines in his dual role as music director, shaping the cast into a cohesive, dynamic force. His keen musical direction creates moments of musical magic, where harmonies soar and every voice feels seamlessly intertwined. The well-crafted, dynamic choreography by Terry Star and Chailyne Perez Rodriguez enhances the show’s storytelling, adding depth and movement that feel both intentional and expressive. “Noel’s Lament” and “Talia” are particularly striking, seamlessly blending character and motion.

The 5 & Dime’s Ride the Cyclone is a thrilling, darkly funny and unexpectedly moving experience. With stellar performances and impressive technical execution, it captures the heart of this cult musical while making it uniquely its own. Every lead and ensemble member is fully immersed in their role, an impressive feat in any musical but especially so in one as absurd and darkly comedic as this. The result is a production that balances humor, heart and eerie spectacle, leaving audiences thoroughly enthralled. Whether you’re a longtime fan or new to the show, this production is well worth the ride.

Ride the Cyclone runs Friday, March 7 through Saturday, March 22 at the The Florida Ballet.

For more information, full cast and crew credits and links to tickets, visit the Ride the Cyclone page here on JaxPlays.