​Wow. 
Ride the Cyclone is, indeed, a wild ride, in many more ways than one. 

Brooke Maxwell and Jacob Richmond’s fascinating script gives us six teenagers confronting their untimely deaths aboard the malfunctioning Cyclone ride. Director James Curtis is also designer of the impressive carnival-chaos set where the teens land, and are challenged by The Amazing Karnak (Dr. Michael Stokes) to make a case for themselves, hoping to be the one voted to come back to life.

Despite being masked and limited to his Karnak box, Stokes projects authority as he foretells death (including his own) and seems to know the rules of the game. Or is it a game? No, it’s a ride.

What struck me about this show was the tremendous VARIETY of characters, dance styles, life stories. You really don’t want to know ahead of time, but whatever you expect, it’s probably not that… Kudos to Choreographer Karyn Perry and music director John Dillingham.

Matt Ottinger’s cinematography was wonderful, but a little frustrating due to lighting compromises (yes, we DO want to see the actors, too) that made the projections a little hard to see. I especially wished I could have seen the details of the introductory montages for each character more clearly. Full screen single images were easier to discern, and the end sequence was beautiful.

The entire cast is stellar.  You can check out their bios here https://peppermintcreek.org/wp-content/uploads/2025/09/Ride-The-Cyclone-Program-Bios.pdf I was particularly impressed when I discovered Izzy Edmonds-Hogan playing “Jane Doe” is a senior at Fenton High School with a fantastic voice and lot of credits for her young age. The other “teenagers” are a bit past that literal age, though they convincingly portrayed it.

Megan Malusek starts up the values-machine with a complex and evolving achiever-girl persona. Mason Olvera was touching and FABulous. (Kudos to his costume and the many, varied costumes and additions that defined “extra” characters played by the six teenagers; costume design Camara Lewis.) 

Robert Mueller inhabited the complete scale from mousy to magnificent — and Christopher Pongracz brought great humanity to his Ukrainian character with the online fiancée - the lovely “Talia” well played in video by Liv McIntyre. 

Zoë Schultheiss was the character I related to the most. Their song about life being a jawbreaker that sucks and changing perspective to the "sugar cloud” gave the show extra heart. It was great to see Zoë in their first major role, well earned.

This 90-minute whirlwind delights and entertains in the signature Pepperminty thought-provoking way, raising issues of identity, justice, resilience and hope.  Check out Director Curtis’s insightful program note, describing the show as “a strange, hilarious and deeply human exploration of what it means to live, to dream, and to face the unknown.”

Cyclone continues through September 28 at Stage One (with its wild, colorful, new mural on Lake Lansing Road. Park in the back; handicappers in the front. Tickets at http://peppermintcreek.org — It’s general admission, so arrive early for best seats — and this is a deceptively small theater (100-ish seats?) so it could/should sell out.

Only two more chances to be a part of MSU’s New Musical Laboratory’s 10th anniversary musical, Taking Off! It’s a collaboration between MSU Theatre and Wharton’s Institute for Arts and Creativity — a partnership to workshop and develop new musicals on their way to Broadway and beyond. Director Adam Yankowy explained how the show was developed over a mere three-week period, even with the added challenge of their “visiting professional” actor being called away and replaced by the very talented, also professional, Mark Williams — with only three days’ notice! 

Changes and additions were made along the way, so Mark and others sometimes had scripts in hand — but that did not slow down the madcap, slapstick energy that propelled this new musical about an old time. It was the mid 60’s — when stewardesses were oppressed by outdated, sexist rules.

Anastasia Breen was outstanding as Amelia Darehart, the airplane mechanic recruited last-minute to try her dream job as a stewardess — and the proverbial hijinks ensued. Spilled drinks, a diamond heist attempt, a bathroom “occupation”— a highlight featuring seductive jaded housewife Trudy (Shelby Parker) and enthused but inept heist sidekick Alphonse (Karam Mawazini). 

The show reminded me a bit of the recently-seen Legally Blonde (ending this weekend at Riverwalk) for its theme of women learning to break out from under the patriarchy to make their own rules and build their own futures. It is similarly long (2 1/2 hours which includes intermission) and is a little “naughty” but okay for older kids. 

The set is mostly just chairs — but they see a lot of action. Though characters are always on the plane, imaginative blocking keeps those chairs moving and provides varied views for the audience. (The “dream sequence” is fun.) The band is small but lively with Music Director Dave Wendelberger at the keyboard, assisted by Elyse Gray on bass and Michael Giunta on drums.

Plan to come early and enjoy the lobby display created by design students, covering the era with stewardess recruiting posters/rules and costume and set designs. (Early arrival also allows time to cope with the parking ramp traffic from the Neil Diamond show at Wharton’s Great Hall.) Taking Off! is on the Pasant stage, with general seating. 

Taking Off! takes flight only TWO more times: 7:30 Saturday and 2pm Sunday, September 20-21. 
https://www.whartoncenter.com/events/detail/taking-off

I must admit I was a British Invasion and Motown gal, so didn’t previously know anything about Neil Diamond’s personal life, though I certainly did recognize his contributions to the soundtrack of my youth. So I was both informed and entertained by this jukebox musical that served as both a confessional and a reckoning on Neil Diamond’s life.

A Beautiful Noise ranges from intimate scenes to stadium-concert-glitz, talent and torment, all hung on the premise of psychotherapy sessions. A reluctant “Neil Now” balks at the therapy his third wife has nudged him into. In this older, frailer role, Robert Westenberg does little singing but a lot of excellent conflicted acting as his therapist (Lisa Reneé Pitts) skillfully coddles him into opening up about his life issues through the lens of his songwriting.

Of course, “Neil Then” (Nick Fradiani) soon emerges — along with a wonderful motley crew of singer/dancer/backup/bit players. Nick portrays The Neil Diamond we recognize, initially a reluctant singer but ultimately a consummate showman with that celebrated voice: “gravel wrapped in velvet.” Kate Mulligan is charming as the agent who “discovers/encourages” the young singer, and Tiffany Tatreau and Hannah Jewel Kohn deliver heartfelt performances as Neil’s wives, Jaye Posner and Marsha Murphey

I encourage all who attend to check out the “Letter from Neil” in the program, where he explains he was only able to tackle the idea of a Broadway musical about his life after his performing was cut short by symptoms of Parkinson’s disease. He applauds Bob Gaudio (writer of Jersey Boys) Ken Davenport and Anthony McCarten who teamed with Neil to create this show. He considers the show personally therapeutic in coming to terms with his life.

Of course, we all have to sing along to Sweet Caroline (and a few others) and may want to jump onstage with the spirited troupe to dance the night away. This show offers fun musical nostalgia along with a helpful therapy session.

The Neil Diamond Musical A Beautiful Noise continues at Wharton Center’s Great Hall through September 21. Tickets at https://www.whartoncenter.com

Omigod, you guys — what a fun show! Legally Blonde manages to be totally entertaining while supporting some of those serious “Barbie-Movie” principles of feminism, self discovery and empowerment. This is a standing-ovation, nearly-sold-out-on-opening-night show; get your tickets SOON, or you may have to take the slightly-obscured-view upstage side seats.

Director/choreographer Brian Farnham has made the most of a versatile cast that includes many new faces as well as a few of the faves. Kudos to the costume team led by Colorogio Romero, (and the dressers!) for making 22 cast members seem like a hundred. Andrew Wittbrodt’s set design of  ivy covered walls was beautifully “scenographied" by Elisha Smith. The floor is a masterpiece. Music Director Angie Schwab leads a nine-piece live orchestra.

As the iconic Elle Woods, Tess Klygis makes her Riverwalk debut with a bang, beautifully embodying the evolving values of this “dumb blonde” with the untapped potential to conquer Harvard Law School. Another newcomer, Nick Kreider, is sufficiently dreamy to start as Elle’s husband-goal in life . Then he dumps her for a “serious” girl — the also evolving Vivienne well played by Beck Murphy. Spencer Sullivan is another very talented and charming newcomer to Riverwalk who helps unlock Elle’s potential. 

Kameron Going brings his trademark gravitas to the Shark/Lawyer/Scumbag Professor Callahan. Ron Meyer was charmingly hunky as Delivery Guy and I was lucky enough to get one of his “gift packages” (lLet it be a surprise!) A highlight was the adorable hairdresser Paulette, played with compassion and flair by Lindsay Parr Hemming, who still feels like a “fresh new face” with only one previous Riverwalk role. Ireland was a show-stopper.

It was fun to see Matt Ottinger as Elle’s Dad and multiple small roles in the ensemble, departing from his beloved emcee persona. But I was most impressed with how he carried off a small table set with filled champagne flutes during a scene change without spilling!

Note that bios have been removed to slim down the beautiful Riverwalk Programs but the color head shots remain - yay! (Gruner Graphics and Jackson Printing) You can use the QR code or go to https://www.riverwalktheatre.com/cast-and-crew-bios.html  to read bios.

Also don’t forget to check out Claudia Ottinger’s fun art in the lobby. Her Lansing landmarks, classic cars, cats and more have unique charm. Her work can be found at http://www.etsy.com/shop/ClaudiaOttingerART. Claudia also has art and jewelry at The Little Red Schoolhouse.

Legally Blonde continues at Riverwalk through September 21 — and sellouts are more than likely. Get your tickets a thttp://riverwalktheatre.com $25 Adult; $20 Senior/Student/Military; $15 Child (under 12yrs) $2 off the slightly obscured view seats in orange on the seating chart.