The jubilant revival of Once on the Island takes shape even
before the musical begins. The floor of
the Circle-in-the-Square theatre has been transformed by Scenic Designer Dane
Laffrey into a sandy, Caribbean island beach populated by local residents. In one corner a woman is frying up some
native delicacy, the aroma wafting through the lower rows of the theatre. Live chickens are caged at another part of
the performing area while a goat is led around by its owner. Litter, brought ashore by the tides, is
strewn about as the inhabitants mingle
and socialize.
The 90 minute,
intermission-less production tells the fable of Ti Moune, a young girl who
falls in love with Daniel, a handsome aristocrat from the other side of the
island. The four island gods have
devised a test for the blossoming woman to see which is a more powerful force –
love or death. They cause the injury of
the young man in a car accident as a way for Ti Moune to meet and nurse him
back to health. Before he is completely
healed he is whisked away by family members to the luxury of the family
compound. Crestfallen, she makes her way
to his parent’s estate to convince him of her love. Bewitched by her genuineness and devotion, he
becomes captivated with her before the reality of their star-crossed lives moves
him, and their ill-fated relationship, onto a divergent, disheartening path.
Stephen Flaherty’s book of the show is an
imaginative tale of the celebration of life and the power of love no matter the
pain and heartbreak one may experience.
His use of cast members to form a Greek-like chorus of storytellers
enables a fluid narrative flow. The
addition of the four portrayed deities – of the Earth, Water, Love and Death –
provide a hallucinatory quality to the story.
The score by Lynn
Ahrens and Stephen Lafferty, their Broadway debut, is evocative of the sounds
from the Caribbean and buoyantly sung by the performers. They are enthusiastically rendered by a small
off-stage band and supplemented by handmade instruments fabricated from items
lying about the island’s beaches.
The cast is more
of an ensemble effort with a few notable performances distinguishing themselves
within the acting troupe. Some of the
standouts include Hailey Kilgore as the older Ti Moune. She possesses boundless energy and conveys
the mixed emotions of young love. Her
voice soars and her stage presence reminds me of a fresh-faced Melba
Moore. Philip Boykin as Tonton Julian,
Ti Moune’s father and Kenita R. Miller as her mother, make an endearing, caring
couple only wanting the best for their questioning child. Playing the island god Asaka (Mother of the
Earth), Alex Newell has a thunderous voice and a commanding stage presence.
Director Michael
Arden has created an immersive theatrical environment that takes full advantage
of the circular stage and its environs to vividly tell the story. There is constant movement within the
production and sights to behold at every corner. The director forgoes unnecessary stagecraft,
keeping sets and props to a minimum, which allows for more creative artistry
and imagination. Working with Lighting Designers Jules Fisher and Peggy
Eisenhauer and Sound Designer Peter Hylenski he has created a theatrical setting
full of wonder and spectacle.
Choreographer Camille A. Brown has
infused the show with vibrancy and exuberance. You feel the vitality and rapture of the
performers. Some of the dances,
especially Ti Moune’s high-spirited strutting at a fancy ball, come across as a
joyous and infectious celebration.
Once on the
Island, an enchanting and radiant production.
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