Review: Theatre Raleigh's ONCE ON THIS ISLAND

Based on Rosa Guy’s 1985 novel, My Love, My Love; or, The Peasant Girl, a Caribbean-set retelling of the original fairy tale of The Little Mermaid by Hans Christian Andersen. Once on This Island follows Ti Moune, a peasant girl who was once rescued from a disastrous storm by four gods, Asaka, Mother of the Earth; Agwé, God of Water; Erzulie, Goddess of Love; and Papa Ge, Demon of Death. One day, Ti Moune rescues Daniel, a wealthy boy from the other side of the island and falls in love with him. So starts the myth told in this breathtaking story of joy, sorrow, and the triumph of love against all forces.

Following a successful premiere at Off-Broadway’s Playwrights Horizons, Once on This Island opened on October 18th, 1990 at the Booth Theatre on Broadway. This project marked the second collaboration for the team of book writer/lyricist Lynn Ahrens & composer Stephen Flaherty following Lucky Stiff. The production received 8 Tony Award nominations (including Best Musical) and closed on December 1st, 1991 after 469 performances. In the years since, Once on This Island has been staged in London’s West End (where it won the Olivier for Best New Musical), revived on Broadway (where it won the Tony for Best Musical Revival), and has endured as a cult classic.

Interesting timing for me to see this show. This past weekend, I was in New York where I caught a phenomenal revival of Ragtime, which also has a score by Ahrens & Flaherty. This is actually my very first time seeing Once on This Island as I’ve previously been familiar with the music from having heard both Broadway cast albums. Not to mention that North Carolina Theatre was previously set to produce this last year, but was cancelled following the company’s bankruptcy and eventual closure. So Theatre Raleigh doing it in a way makes up for it.

The 2017 Broadway revival notably had very immersive staging in the round. This production appears to be influenced by that. As you enter the De Ann St. Jones Theatre, it feels like you’re stepping into the world of the musical. Thumbs up to Stephanie Bahniuk for designing such immersive scenery (in addition to such elaborate costumes). Although under Christopher D. Betts’ direction, everything is staged in imaginative ways, which very cleverly lets the audience fill in the gaps of what we’re supposed to be seeing. Not to mention that Jeremy Diamond’s lighting comes off quite effectively.

The musical only runs about 80 minutes without an intermission. Lynn Ahrens’ book manages to pack everything in very tightly and is incredibly well paced. Most of the story is brilliantly told through song. Similar to what Ahrens, along with composer Alan Menken and co-writer Mike Ockrent, went on to accomplish with Madison Square Garden’s long-running musical version of A Christmas Carol. The score she co-wrote here with Stephen Flaherty is very exotic and brought to life by an incredible six-piece band led by Brian P. Whitted. Plus, the musical numbers are given such electric choreography by Taylor Mackenize Smith.

The cast consists of 13 performers, all of whom deliver very rich vocals. In the starring role of Ti Moune, Amaya White gives quite a winning performance, making the audience root for her over the course of the show. Lucas Hinds Babcock is charismatic as her love interest, Daniel Beauxhomme, who also shares lively chemistry with White. As Asaka, the Mother of the Earth, Tara Lashan Clinkscales literally brings the house down with her rendition of the showstopper, ‘Mama Will Provide.’ As Erzulie, Goddess of Love, Shayla Brielle G.'s rendition of ‘The Human Heart’ is an absolute highlight. Natasha Gore and Gerald M. Williams are both very heartfelt as Ti Moune’s adoptive parents, Mama Euralie and Tonton Julian. Parris Lewis commands the stage as Papa Ge, the antagonist of the story. I’d also like to put in a good word for each of the kids, Asali Smith (Little Ti Moune), Jarreau Foster Rhyne (Little Girl), and Clayton Mack III (Little Boy), all of whom come off as adorable.

The only qualm I really had with this production is that depending on where you sit, it can be hard to keep up with where to look. Specifically when it comes to focusing on which character is speaking or singing. Other than that, it’s definitely worth seeing. The musical itself should leave you feeling all different types of emotions from start to finish. Theatre Raleigh provides a really stunning presentation of it. Thus, their 2025 main stage season comes to quite an outstanding conclusion.

This production is currently running through November 23rd. For more information, please click here.

Raleigh Awards - Live Stats

Best Musical - Top 3

1. WAITRESS: THE MUSICAL (Theatre Raleigh)

16.4% of votes

2. LITTLE SHOP OF HORRORS (Playmakers Reperatory Company)

14.3% of votes

3. TUCK EVERLASTING (Studio 1)

11.1% of votes

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