By Noah Moore
It doesn’t take a hit on the head from a mango tree to be impressed by CCM’s Once on This
Island— in fact, it’s quite easy with this ravishing production filled with color, song, and a whole
lot of heart. In a snappy 90 minutes, the story of Ti Moune blows the roof off of the theatre and
wraps you in palpable joy, sorrow, and celebration.
Mark Lyons.
Plot
Premiering in the 90s, Once on This Island depicts a story of star-crossed lovers set in the
tropics of a French Caribbean island. When peasant Ti Moune finds grandhomme Daniel in a
car crash, she heals him and the two fall in love. By the help (or hindrance) of the four gods,
overseeing love, death, land, and water, Ti Moune finds her destiny in a world filled with
division–and the story may not end the way you expect.
Nonetheless, this show, with a score by famed duo Lynn Ahrens and Stephen Flaherty (the
latter being a CCM alum), has a bright and textured score, with many Caribbean instruments,
from bongos to steel drums. Though its orchestrations are reminiscent of the 1990s when it was
written, it nonetheless features earworms and gorgeous ensemble numbers, and tells a delicate
story that effectively ties in elements such as racism and classism. This nuance is not always
easy, but this production conveys these themes incredibly well.
Performances
With such delicacy, it was exciting to see a cast of almost entirely people of color, in a superb
casting, that is true to the time and place of the story. Ti Moune, played by Erin Morton, is simply
luminous, with sky-high vocals that elevate her character’s story. The ensemble, as both present
storytellers and past participants, illuminate the quick and varied choreography, by Julia Schick
(who performs as Asaka, the Goddess of the Earth, as well).
Though aloof at times from the central plot, one has to give flowers to each of the four gods, who not only watched over the stage from a side box in a creative directing decision but also each individually shined. Most notably, the show roared to a halt from applause several times, particularly with Agwe, the God of Water, played by Essence Bell, and Asaka, played by Julia Schick. Their respective songs ‘Rain’ and ‘Mama Will Provide’ were absolute highlights in performance and staging.
‘Mama Will Provide.’ Photo by Mark Lyons.
Production and Technical Elements
The direction by Torie Wiggins is fresh, sweeping, and deftly-staged to create a lived-in world for
the story to be told. The show features floods, thunderstorms, and car crashes, expertly done by
vivid lighting design, by Jessica Drayton, and creative props, by Amber Slater, that set the stage
well for a storm-torn community.
The costumes, designed by Erin Donnelly, were also resplendent, from the blending of textures
and fabrics in the ensemble to the jaw-dropping intricacies of the Gods’ garbs, particularly
Erzulie’s luscious gown as the Goddess of Love. The colors fared well with the equally-vibrant
set design, by Mark Halpin. In a treasure trove of detail, the show features colorful large street
walls, with windows that open to a beautiful starry sky. The looming doors are cleverly used to
convey the societal divisions, and loom over the stage, akin to floodgates.
finale, ‘Why We Tell The Story.’ Photo by Mark Lyons.
Overall
With stellar casting, star-making performances, and a keen technical design, this colorful
production is among the best musicals staged this season. The show sweeps off the stage and
envelops the audience in its world, and it’s assuredly a gorgeous one to witness first-hand. There’s one more performance tonight, but check out the rest of CCM’s season at ccmonstage.universitytickets.com!
