REVIEW: Once On This Island
Well, that was an energetic opening night performance!
"Once On This Island," a musical by CCM alum Stephen Flaherty and his writing partner, Lynn Ahrens, is based on a novel called "My Love, My Love" by Rosa Guy. It's a tragic folktale with a gorgeous score (aptly musically directed by Casey Reed). There are a million ways to stage a show like this (and not all of them are good.)
I don't know if the gods referenced in the show or some other higher power recruited Torie Wiggins to direct the piece, but whoever is responsible made a great choice. I've seen other shows that Torie has directed (and, of course, I've seen her act dozens of times). I've even seen shows that she's written. But this production is one of my favorite things she's been involved with.
It's amazing what having the right tools, talent, and resources can do. Mama, or someone else, sure did provide it.
Here's my synopsis: Ti Moune, an orphan girl, is spared from certain death by the four gods - Asaka, Agwe, Erzulie, and Papa Ge, and is adopted and raised by kind parents Mama Euralie and Tonton Julian. Daniel, a wealthy French heir, has a near-fatal accident but is nursed back to health by Ti Moune, who falls in love with him. Despite coming from different worlds (think Romeo and Juliet, but not really), a beautiful romance has formed. But think again, as sadness, tragedy, and the class system of the island wreck havoc . . . and maybe the gods are to blame a little, too?
Patricia Corbett Theatre is transformed into an island paradise by the sets, props, and outstanding costumes from graduate student Erin Donnelly. While straightforward, the set design feels luscious and expensive - like CCM musicals are supposed to be. While the lighting was problematic in execution on opening night, it is designed well and accentuates the story nicely. The tech, including the wigs, makeup, and sound, all support the tremendous talent on stage.
That talent is immeasurable; vocally, the show soars, and the dancing is inspiring. But for me, it's the powerful acting - especially by Erin Morton as Ti Moune and all four of the gods (the warm and nurturing Julia Schick, the dangerously mysterious Essence Bell, the sweet and kind Annalise Prentiss, and the deliciously devilish Sean Polk II) that made the show sizzle. Each takes a moment to shine, showcasing amazing vocals and rich overall characterizations.
I was blown away by the performances from Indya Lincicome (Mama Euralie), Anargha Pal (Tonton Julian), Ranease Brown (Storyteller), and Peter Neureuther (Daniel). The ensemble sounds fantastic and moves harmoniously (thanks to Julia Shick's superb choreography. She's doing double duty by acting and choreographing the show!).
For me, as Ti Moune, Erin Morton commands the most attention. She can belt as well as anyone, but her control of her body and facial expressions make it impossible to look away. Charisma oozes from her naturally, but there's no doubt she's worked hard to be this talented. I have a feeling she may revolutionize the industry by shattering conventional expectations.
The subheading of this review discusses tech, talent, and teaching. The teaching comes from the direction, dramaturgy, and the way these students were pushed to do their best work. According to Wiggins, in a pre-show chat hosted by CCM Power, they learned a lot about culture throughout the process. I think that is evident in the comprehensive greatness of this production.
Wiggins is the first director of color to stage a musical on the main stage of CCM. I hope she can find time to return in the future. However, I also hope we continue to see diverse talent recruited and educated at the University of Cincinnati. It's one of the top MT programs in the country, after all. What happens here directly impacts musical theatre at large.
Productions like CCM’s “Once On This Island” are essential for the students, the audience, and the future of Broadway.
ONCE ON THIS ISLAND runs through the weekend, with three more performances. More information can be found here.
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