Once On This Island

Thank heavens for community theatre companies like Fab Nobs, who bring us musicals that we otherwise would never see, since they are deemed to be too non-commercial for the main stage. The problem is that, because these musicals are largely unseen, the potential audiences are unfamiliar with the scores and assume that they’ve never heard of the musical because it’s no good. Nothing could be further from the truth. The score of Once On This Island is exquisite, the story is moving, and the entire show has a naivete and charm that has won it many awards (it was nominated for nine Tony Awards and won an Olivier Award in the West End). In short, if you’re a “Musical Theatre tragic”. It should be on your “must see” list.

The story (a little bit Romeo and Juliet…a whole lot Little Mermaid) is of the beautiful Ti Moun, rescued from the sea, who falls in love with the French planter’s son and gives her life to bring two cultures together – simple, but beautiful. Watching over her are four Gods – driving the story to its tragic conclusion.

Fab Nobs doesn’t have access to a cast of Caribbean actors, but it nevertheless enthuses its Caucasian cast with energy and passion. They clearly love this show – and it shows. Despite horrendous technical glitches with the sound on Saturday night – and some shortcomings in the direction and choreography - there are some absolute stand out performances that will have you leaving the theatre feeling uplifted and joyful, and the vocal work is outstanding. Greatest honours go to the female cast this time around, a stellar collection of charismatic performers.

Jess Ridler (Ti Moun) is superb as the young girl who loves not wisely but too well. Her ethnicity helps us to believe in her as a native girl and she brings a sense of innocence coupled with youthful abandonment to the role. She sings and dances up a storm but also touches the heart with the poignancy of her acting. In short, she’s terrific.

Lizzie Matjacic (Erzulie) and Ang Cuy (Asaka) bring the two Goddesses alive. They’re funny, endearing, sexy and super-talented. I could listen to Matjacic sing all night (I’ve loved her since I saw her play Diana in Next to Normal), and she’s exquisite in “The Human Heart”. But more than that she has real presence on stage. Ang Cuy is full of chutzpah and could easily steal every scene, but she’s a generous performer who chooses her moments. It’s the subtleties in the expressions, that sense of “I know something you don’t” and the fact that she’s so relaxed in her own skin that make  her so appealing in every role. She nails the number “Mama will Provide”.

Cathryn Youings (Andrea) is simply lovely. Clearly a trained dancer she is lithe and graceful, but also handles well the role of the snooty upper class girl destined to marry Ti Moun’s love Daniel. I look forward to seeing her again, she’s a real triple threat who should go far.

Katie –Jane Kinsella (Mama Euralie) beautifully portrayed the older “mother” to Ti Moun, but such were the microphione problems that I didn’t hear any of her singing and some dialogue was lost too. And 11 year old Annabelle Tsekouras looked terrified for only the first five minutes, after which she settled into both the role and the “family” with great aplomb like a little trouper.

The Male Gods, Papa Ge (James Robertson) and Agwe ( Sean Peacock), have their own strengths vocally and Douglas Costello as Daniel (despite what sounds like an Afrikaans accent in his acting) is best in  “Some Girls” which sits in the perfect pocket for his lyrical voice. That song – with the line “some girls you marry, some girls you love” - encapsulates the entire story and is exquisite.

Musical Director Emma McGeorge does a stunning job with the band …the score may sound simple but it really isn’t, and the musicians were well prepared and excellent throughout. I love Caribbean music, and oil drums can be fantastic if played well but, unless there’s a West Indian musician moonlighting in Bayswater, it might be better to replace the long and repetitive oil drum “Overture” with a real overture. It certainly does nothing to raise the audience energy levels for the delightful show that follows. Also, I’m not sure why the show is in two acts. It was written as a one act musical and I have never seen it in two acts before. There must be a good reasons but, for me, the interval did break the continuity, but that’s a minor concern.

Fab Nobs’ theatre, if you haven’t been, offers cabaret seating at tables and a terrific little bar which also sells cheese, meat and olive platters (for a crazy $6) along with wine, beer, bubbly, soft drinks and even tea and coffee. It all adds to the ambiance and makes for a delightful night out. Ticket prices are ridiculously low…but this is a labour of love for everyone.

All in all a glorious musical presented with real love and commitment. What more could you ask for? Go and see it.

Coral Drouyn

Photographer: John Milkins.