Ride the Cyclone

THE AMAZING KARNAK – Male, 35-50. Non-singing role; the narrator; a mechanical fortune-telling machine.
OCEAN O’CONNELL ROSENBERG – Female, 18-25. The leader of the group, relentlessly competitive, sometimes cruel, though she sees herself as a virtuous person. High Broadway mix, with a pop quality; big range.
MISCHA BACHINSKI – Male, 18-25. Adopted from the Ukraine as a teenager; he has thick Ukrainian dialect and a lot of rage; he is obsessed with Gangsta Rap and an enormous fan of Auto-Tune but has a hidden, soulful romantic side. Baritenor with the ability to sing lyrical Ukrainian folk music as well as rap.
NOEL GRUBER – Male, 18-25. The only gay kid in Uranium; never had a relationship; obsessed by French New Wave cinema, he has fantasies of dying a tragic death. Must be able to sing in the style of a French chanteuse.
RICKY POTTS – Male, 18-25. Ricky Potts is a mute boy with an overactive imagination.He gains the ability to speak in the afterlife and talks about his fantasies of the Zolarian galaxy. Baritone rock voice; basic accordion and/or tumbling a plus.
CONSTANCE BLACKWOOD – Female, 18-25. Overweight, and outwardly okay with it, but also has a very deep self-loathing. Will do anything for Ocean’s friendship and allows herself to be used as a doormat; dubbed “the nicest girl in town,” a title she secretly despises. Very likable comic actress; alto belt with a rock edge.
JANE DOE – Female, 18-25. She was decapitated in the accident and no one claimed her body, even though she isn’t headless in the piece (but often carries around a headless doll). She reacts in a literal way and largely without emotion, almost robot-like; the other characters are totally freaked out by her. Classically trained soprano with a flexible coloratura upper range and some grit and meat in the lower register.

The authors give full license to any performer playing any role in the musical. While pronoun changes are fine to accommodate the performer’s interpretation, any changes to the book or lyrics beyond these changes must be cleared by the authors.

The authors give full license to any performer playing any role in the musical. While pronoun changes are fine to accommodate the performer’s interpretation, any changes to the book or lyrics beyond these changes must be cleared by the authors.