Review: ONCE ON THIS ISLAND at Hayes Theatre Potts Point

Showcasing the diversity of talent in Sydney, Once On This Island is a poignant tale of love and sacrifice.  Lynn Ahrens (Book and Lyrics) and Stephen Flaherty’s (Music) multi–Tony Award Nominated musical theatre adaptation of Rosa Guy’s 1985 novel My Love, My Love: Or, The Peasant Girl is given an Australian edge under Brittanie Shipway’s direction. 

Set in the Caribbean islands, Once On This Island is a story about two cultures and socio-economic groups and the prejudice and inequality that exists which leads to a love that cannot be honoured so the colour of the characters’ skin is important.  Shipway has ensured that she has gathered a strong cast of People of Colour so the power of this facet of the story is not lost while allowing each performer to bring part of their cultural heritage to their performance rather than having them all act as if they were from the Caribbean.  This works well with the premise that many cultures have passed on their history and legends through storytelling as the characters don’t really need to be from the same cultural background to share in the unified telling of a village legend to comfort a small child scared of the storm.  As with many cultures, their stories are tied to their belief systems and the story told is anchored in Haitian Vodou mythology with four gods ruling the islands.  Asaka, Mother Earth is presented by Paula Parore who brings Māori heritage to her performance while Agwe, God of Water is presented by Googoorewon Knox who brings his Gamilaraay heritage to the work, Erzulie, Goddess of Love is presented by Cypriana Singh who is noted as having mixed ethnicity in the programme and brings Indian elements to her styling and Papa Ge, the Deamon of Death is presented by Rebecca Verrier who brings her Mauritian heritage  to her performance. 

Once On This Island centres on Ti Moune, performed by newcomer Thalia Osegueda Santos, the adopted child of Mama Euralie (Zahrah Andrews) and Tonton Julian (Sione Mafi Latu), who grows up to be a healer.  When she falls for the mysterious “light skinned” stranger (Alexander Tye) from the other side of the island she prays to the Gods for the chance to meet him but Papa Ge adds her own twist to the meeting, earmarking the young man for death but love wins out, at least until the prejudices of the light-skinned descendants of the French plantation owners against the “dark skinned” peasants comes into play. 

As the work is told as storytelling recreation there is more scope to present improvised and stylised expressions in both the set and costuming.  Nick Fry has created a seemingly simple set from packing pallets, timber freight boxes and sugarcane stalks but there is a wealth of meaning woven into the set along with hidden elements that allow the space to be transformed as the story unfolds.  The used of two elevated arcs allow the Gods to sit above the mortals while being near enough for them to descend when required.  Rita Naidu’s costume design also holds hidden meaning and connection to each performers heritage while quickly establishing the essence of the core characters and simple changes allow supporting cast to morph into other roles as required. 

In the central role of Ti Moune, Thalia Osegueda Santos is a bold new performer to watch.  A powerhouse voice and a endearing sweet charm, she is a perfect fit for the young woman who sacrifices all for love even when she knows it can’t be reciprocated.  Santos’ characterisation of Ti Moune is strengthened by Zahara Andrews and Sione Mafi Latu’s performances as her adoptive parents with both expressing caring and compassionate characters through their vocals and dramatization. 

As the Gods and Goddesses, Googoorewon Knox, Paula Parore, Rebecca Verrier and Cypriana Singh each bring a gravitas to their roles, ensuring that they have a grace and poise befitting their position overseeing the mortals.  Knox’s vocals are particularly delicious as rich velvet.  Parore infuses a power to her Mother Earth nurture while Singh is an ethereal optimistic Goddess of Love.  Verrier brings a fabulously sinister tone to her Papa Ge, the villain of the piece.

This uniquely Australian telling of the Caribbean story is a wonderful way to celebrate the rich storytelling traditions that form part of many of the cultures that make up the diverse Australian population.  While Shipway was always a powerhouse to watch out for as a performer, if her vision and direction of this production of Once On This Island is anything to go by, she’s also a new director to take notice of.  Well worth seeing and only 80 minutes long. 

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