REVIEW: A Night at Steamer No. 10: Life, Death, and Ride the Cyclone
12/07/24 at Steamer No. 10, Albany
“The Ballad of Ride the Cyclone was so much more than a documentary about a musical; it was a study of the human experience.”
Breaths were visible in the December air as attendees made their way into Steamer No. 10 in Albany for the premiere of The Ballad of Ride the Cyclone: A Wait in the Wings Documentary. Once inside the historic 1891 firehouse-turned-cozy nonprofit theater, guests were welcomed with sparkling wine, snacks, and a warm sense of community.
Directed, written, and narrated by Brendon Henderson, the feature-length documentary from Wait in the Wings explores the wild, complex history of Ride the Cyclone, a cult-hit musical that challenged conventions… and some might argue logic. The musical, which first debuted in 2008, follows six teenagers who meet an untimely death in a roller coaster accident and find themselves in purgatory, battling to prove which of them deserves a second chance at life. Blending dark humor, powerful ballads, and a uniquely offbeat narrative, the show pushed theatrical boundaries, balancing the bizarre with real, raw human struggles.
As the crowd settled into their seats with popcorn and candy bars, I grabbed my notebook. The upcoming film was one I had deliberately kept myself in the dark about, and as it opened with the eerie creek of a roller coaster climbing its first hill, I felt a sense of unease—the sound setting a tone for something unexpected, something dark, something important. What was to come was an illuminating story of grief, identity, and mortality—and I admittedly wasn't ready for the ride. By the end though, I was grateful I held on, as I was left with so much to question, to learn.
The film opens with a moving epigraph from Ernest Hemingway—the first observation I jot down. “Very few people ever really are alive and those that are never die; no matter if they are gone. No one you love is ever dead.” These words laid the foundation for a documentary that isn’t just about a musical, but about the universality of death and the absurdity of life.
Through interviews with the musical’s creators, Jacob Richmond and Brooke Maxwell, cast members like Emily Rohm and Kholby Wardell, and experts such as disability dramaturg Sydney Zarlengo, the film pieces together the wild, ever-changing evolution of Ride the Cyclone. From its beginnings as a small-town cabaret to its unexpected rise as a viral phenomenon, the story is as complicated as it is inspiring.
“We didn’t know what we were doing,” we hear Richmond admit—an acknowledgment of the somber, depressing spirit of the original script. But then, he thought, “We can make it fun.” And this complex balance of tragedy and comedy became the core of Ride the Cyclone, and a balance Henderon captures effortlessly.
Attracted by Albany’s resources and community, Brendon and his wife, Julianna Whalen-Henderson (also the film’s script supervisor), moved upstate to complete the years-long process of making the film. One unexpected influence in the Capital Region was the Honest Weight Food Co-op, where their monthly Death Cafe invites people to gather for candid conversations about death and dying.
“It changed the trajectory of everything,” Brendon told me, noting how these discussions helped him dive deeper into Ride the Cyclone’s themes of grief and mortality. The Co-op’s Death Cafe, held on the last Monday of each month, became a crucial space for connecting with the complex emotions of the musical.
Julianna shared a lighthearted moment from the process that illustrates the intensity of Brendon’s deep dive into the subject matter. “It was August, the Olympics were on, and I just wanted to have a nice dinner,” she said with a laugh. “And he was talking to me about death the entire time and I'm like, ‘I love working together, but this is a lot for me right now.’” On the walk back to their car, the two had a realization: “Oh, this is Terror Management Theory,” which suggests that much of human behavior is driven by an effort to cope with the fear of dying—a theme woven throughout their documentary.
The film also explores disability representation through the character of Ricky Potts and the thoughtful insights gathered from disabled advocates and fans. Disability dramaturg Sydney Zarlengo reflected on their role in the film after the screening.
“Research is a lot of alone time,” they said. “You put hours and hours into something and then just kind of give it to the universe, hoping someone sees it and learns from it.” Bringing visibility to work that often happens behind the scenes brings Zarlengo great joy.
The energy of the audience at the premiere reflected the themes of connection and purpose found in Henderson’s work. “To premiere this film at Steamer No. 10—a theater that produced Ride the Cyclone earlier this year—it just speaks so much to the community that surrounds both the show and Wait in the Wings,” Julianna said. “And we’re nothing without our community.”
After the credits rolled, there was no rush to exit to chilly Western Avenue. The theater buzzed with conversation long after the lights had been turned back on as audience members reflected on the haunting yet hopeful story they’d just experienced. It was evident that The Ballad of Ride the Cyclone was so much more than a documentary about a musical; it was a study of the human experience. Both deeply intellectual and profoundly moving, it was an exploration of how we grieve, how we make light in our darkest moments, and how we try—through art—to make sense of it all. Just as we wrapped up our conversation, Henderson put it perfectly: “Art is our way of trying to express the inexpressible.”
The Ballad of Ride the Cyclone is now available to view on Wait in the Wings' YouTube channel.