Winters Lane's "Island" a Musical Treat

            I have an enormous regret to admit to before I launch into this review, readers.  I regret that it was only yesterday that I finally made it to Winters Lane Productions' beautiful production of Once on This Island, which concludes its run this Sunday.  I regret it mostly because the word needs to get out about this not-to-be-missed production, and that local audiences are really missing out on the area's best community theatre group for musicals.  They are simply the gold standard for musical productions in Baltimore community theatre.  In fact, not a few resident professional groups might find their example is one to follow.  And I regret not being able to see it again.  Be that as it may, don't let yourself regret missing this charming, energetic and romantic show – if you don't have plans (or can change ones you do have) get yourself to CCBC's Catonsville campus and see it for yourself.

            Last year's stunning production of Dreamgirls proved this group is fearless and up to any challenge a show might throw their way.  Once on This Island shows that they can handle a jewel box of a show.  Here, the creative team helmed by director and choreographer Lanor Long has created a tight, seamless and all-inclusive production.  Set designer Terri Raulie has created a visually warm tropical setting, which is simultaneously detailed (there is a sandy beach, water worm rocks and loads of tropical foliage surrounded by the stage apron meticulously painted like the Caribbean) and storybook suggestive (there are multiple playing areas used to great effect as a giant tree, a ballroom and beach huts among other things).  The other designers, clearly working as a unit have completed a wonderous childlike fantasy land of color and creativity and therefore a lushly and fully realized concept.  Costume and prop designer Mark Briner uses every color in the rainbow in pleasing combinations to suggest tropical climates and, more importantly character.  In this fast-paced fairytale is brought to life, one never wonders who the good guys and bad guys are.  Prop-wise, he is equally creative – the frog and grass props earned an appreciative laugh and applause.  And Jason Aufdem-Brinke's moody lighting contributes greatly to the ebb and flow of the piece and to the meaning of its themes.

            Director Long has created a smoothly flowing, brisk production that allows the emotions to flow.  In one scene in particular in Act One, the song "Forever Yours" in which our heroine pleads to the gods to save the life of her love, the stage picture created is stunning, with the girl huddled center stage with her love, while the actor playing her love is slightly above her singing the number, when out of nowhere, the God of Death appears at her shoulder ready to answer her prayer.  In those brief moments, the audience is transported through several emotions, ending with a chilling cold, fearful moment.  There are several such moments in this masterful staging – it is so economically staged and so tightly focused that one has no choice but to be fully totally in its grasp from opening number to the curtain call.  Similarly, Long (and co-choreographer Jason M. Kimmell) have created exciting dances evocative of the setting, but always with an eye to how they can contribute to the story and the flow of the production.  Not a single movement is wasted, and the exuberant cast executes each complicated number with agility and thrilling energy.  Finally, the musical direction by Tiffany Underwood is expert.  She leads the four piece onstage band through the lush score that is expertly played and never sounds like it is merely four instruments playing at any one time.

            There is really only one quibble I have with the production, and that has more to do with the book, probably, than the staging.  In what turns out to be pivotal, important information about the differences in class and race on the island, the number "The Sad Tale of the Bauxhommes" seems abruptly thrown in, and therefore, some of its impact diminished because the audience is hit with it out of nowhere.  As I said, though, this is likely a flaw in the script, not the staging.

            What makes this production all the more extraordinary is the flawless casting.  First of all, there is not a single weak member of the company.  Each person has a superb voice, excellent dancing skills, and has mastered the presentational acting style required of the piece.  Effortlessly, this beautiful, multi-cultural group moves in and out of a variety of characters, sometimes narrating, sometimes as an individual role, sometimes an ensemble member.  From the lead to the smallest role, each is truly a member of this marvelous ensemble.

            As Little Ti Moune, the girl saved by the gods for greater glory, Miss Jaira Byrams is a sweet discovery.  She brings the childlike quality of the tale to the forefront and lends a touching quality to the show when we see Little Ti Moune face to face with her adult self.  Jennie Marie Beck, who narrates a good deal of the piece and later plays the betrothed since birth Andrea, who marries our hero, despite his love for Ti Moune, has a lovely voice and a terrific commanding presence when she is forced to bring a dose of reality to the ending.  Armand, the mulatto father of our hero, is played with alarming arrogance (appropriately for a man who clings to his race to feel superior) by Michael Rostek.  Mr. Rostek is also a fantastic dancer.  Rounding out the cast are Rene Rogers and Chris Rudy who both sing and dance with equal skill to their larger roled castmates.

            The gods, representing Earth, Water, Love and Death are played by a quartet od commanding actors who truly embody what they represent.  Kelli Blackwell (star of last year's Dreamgirls) is a delightful, nurturing presence as the Mother of the Earth, and of course, sings beautifully.  Michael Robinson, as the god of water, bringing the rain and storms together with the seas, has a remarkable way of moving like water, smooth or violent in the exciting "Rain".  The gorgeous voiced talents of Ashley Parker (earlier as Sarah in Toby's Ragtime) are put to maximum use as the Goddess of Love.  Her Act Two ballad, "The Human Heart" is a stirring, rousing anthem that moves the audience and is a definite highlight of the show.  And, in an abrupt departure from his role in Dreamgirls, Aaron Reeder shows that he is an actor to be reckoned with as Papa Ge, God of Death.  He is a powerful, yet subtle, commanding presence earning respect and fear as any god of death might.  His part in "Forever Yours" will send chills up your spine!

            Chelsea Mitchell and Troy Hopper (again a marvel in Dreamgirls) exude warmth and love as Ti Moune's adoptive parents.  Their love for their child is palpable, and the sacrifices made by them are quite touching in the hands of these talented actors.  Their act one "Ti Moune" is a touching tribute to the love of a parent, and their act two "A Part of Us" left this reviewer in tears.

            The gems of this production, though, are the charming and handsome David Gregory as Daniel, the wealthy Beauxhomme who falls in love with his savior, Ti Moune, played by the stunningly beautiful Shaunte Tabb.  Individually, they have superb voices and excellent acting.  He is the very embodiment of manly sensitivity and privilege; she is a representation of the very best of human potential regardless of economy or race.  Both of their solo numbers – her "Waiting for Life to Begin" and his "Some Girls" are terrific – nicely executed and wonderfully acted.  But it is together when they really shine.  Their chemistry is breathtaking, and their onstage love for each other is full of very genuine affection.  During "The Human Heart", we see their love grow as the couple spends weeks together in seclusion.  The romance and passion of their love is heartwarming, and ultimately so endearing that the final moments of the play, when he must, by tradition, refuse her love, thereby causing her death, are absolutely heartbreaking. 

            Ultimately, Once on This Island is a touching, exhilarating tale of hope, love and sacrifice, all with the understanding that everyone regardless of race or economics has these common feelings, needs and desires.  And at its happy conclusion, the storytellers explain "Why We Tell the Story."  All one needs to do is open their heart and mind to understand the beauty of that story.  Bring the kids…you'll have lots to talk about after.  Bring someone you love…bask in the glow of romance.  Bring yourself… theatre doesn't get much better than this.  Bravo, again, Winters Lane!

The remaining performances are Friday – Sunday, February 23 – 25.  The Sunday performance offers a 2 for 1 ticket special.

PHOTO:  The cast of Once on This Island.  Courtesy of Winters Lane, photo by Jason Brinke.

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