An entertaining, quirky musical thanks to this dedicated ensemble cast who look ‘out of this world.’ There is a great deal to admire and like about this production, with some good choices made by the director and actors. Unfortunately, I couldn’t enjoy this ‘Cyclone‘ to its fullest. Technical sound issues hampered my hearing much of the dialogue and song lyrics.
I applaud Shifting Ground Collective’s future vision for the company. According to its website: “[Shifting Ground] is known for ambitious projects spotlighting the future generation of the city’s musical theatre stars.”
Several artists from the current production of “Ride the Cyclone” exemplify this definition. Their vocal talent and performance skills caught my attention, especially at this early stage in their careers. I hesitate to name any specific individuals because they all collaborate effectively as a team, showcasing their understanding of the power of voice and its impact..
Cyclone’s premise intrigued me. I’ve never seen it performed before. As a retired Ontario Catholic School educator, the thought of how the idea of a violent death and its aftermath to be played out on stage eccentrically piqued my curiosity.
From Collective’s website: Saskatchewan’s Saint Cassian High School’s Chamber Choir has never won anything. One fateful day, following a choir competition, the choir members board a rollercoaster called the Cyclone. There is an unfortunate accident that claims all of their lives. The students find themselves in an unsettling middle space between life and death. Purgatory possibly? In the Catholic faith, Purgatory involves cleansing the sins from the individual’s soul before entrance to heaven. Rarely (read never) in my experience so far have I seen a play that deals with Purgatory.
Finding themselves in an unsettling middle space between life and death (Purgatory?), the students meet a mysterious fortune-telling machine named Karnak. Karnak offers each of them a chance to return to life. The story then involves the students stepping forward and allowing the audience the chance to listen to their individual stories.
As a practicing Catholic, I had no issue at all with the way Collective handles this possible issue of understanding the Catholic/Christian notion of Purgatory, as the synopsis might infer. I find it refreshing that Jacob Richmond and Brooke Maxwell’s book, along with Steven Hao’s clear direction, handles it respectfully and wants the audience to think outside the box and imagine the extraordinary.
This production has much to admire. The dedicated ensemble cast appears ‘out of this world,’ a quality that is accentuated by their carefully chosen makeup. The visual aesthetics are impressive, thanks to Meredith Wolting’s vibrant set design and thoughtfully selected props, Mathilda Kane’s moody and atmospheric lighting, and Claudia Matas’ bold and striking costume designs. The two-level Annex Theatre stage, which includes two staircases, allows for fluid movement, and director Hao takes full advantage of this opportunity for his cast. Wolting’s choice of props immerses the audience in a carnival setting, featuring the neon multi-colours of hanging Christmas lights and dizzying designs on the floor. During the pre-show, some cast members creatively interact with these props to generate interest. Kane’s shadowy lighting of the playing space evokes memories of the circus from Ray Bradbury’s Something Wicked This Way Comes. Another highlight of the show is Matas’s selection of carny costumes, which look fantastic. Matas demonstrates creativity and inventiveness in her designs and choices, enhancing the overall aesthetic of the production.
Credit must be extended to Stage Manager Liam Cox and his team for ensuring smooth transitions between each of the musical numbers. I can imagine their team knows where everything and everyone is at any given point. Madison Arnason’s choreography is sharp and lively, utilizing the playing space to its fullest extent. The performers move with agility and lightning speed, appearing neither cramped nor constrained. There is some terrific harmony and melody work, thanks to the diligent effort of Musical Director Michael Ippolito. There were a couple of times when I closed my eyes as I wanted simply to listen and experience the vocals within the songs.
Unfortunately, I was unable to fully enjoy the production. I understand that sound equipment, from speakers to microphones, can be very expensive. I have no qualms about the work of Sound Designer and Audio Engineer Anthony Allan; he is doing his best to create a balance between the band, which is performing from the second level, and the singers, ensuring that neither overpowers the other. However, the Annex Theatre building itself presents challenges for sound, acoustics, and speaker placement. As the show continues this upcoming week, the actors will need to focus on their enunciation, especially when their backs are turned during dialogue or songs. I am confident that Allan will continue to give his utmost, as will the cast with their enunciation, to achieve the best possible sound balance so that the lyrics and dialogue can be clearly heard.
I’m most certainly looking forward to seeing what Shifting Collective has planned in its future slates. This company is one to watch and be delighted to say years from now: “Hey, I saw so and so in a Shifting Collective show when he/she/they were just beginning.”
That’s another bonus of attending live theatre in Toronto, when one can say about an up-and-coming artist: “I saw them when…”
Running time: approximately 95 minutes with no interval/intermission.
The production runs to October 4 at the Annex Theatre, 730 Bathurst Street, Toronto. Tickets are getting scarce, but visit shiftinggroundcollective.com for more information.
SHIFTING GROUND COLLECTIVE presents
Ride the Cyclone
Music by Jacob Richmond and Brooke Maxwell; Lyrics by Jacob Richmond and Brooke Maxwell. Book by Jacob Richmond and Brooke Maxwell.
Directed by 郝邦宇 Steven Hao
Choreographer: Madison Arnason
Music Director: Michael Ippolito
Stage Manager: Liam Cox
Production Manager: Gabby Noga
Technical Director: Nathan Gregory
Sets/Props Designer: Meredith Wolting
Costume Designer: Claudia Matas
Lighting Designer: Mathilda Kane
Sound Designer/Audio Engineer: Anthony Allan
Performers: Sarah Evasiw, Claudia Adamo, Alex Yoannou, Eric Martin, Misha Sharivker, Shannon Murtagh, Tanner Hamlin, Declan Hewitt, Emma Kidd, Kate Megginson, Kristen Thompson, Rebecca Ward, Kathryn Carter, Sarah Evasiw.
