Two different worlds on one island. (Not unlike Cockpit in Court with two different productions in one theatre…one above and one below…) If you’re ready to be swept up in the most astonishing production to wash ashore on Cockpit In Court’s stages since the times of the before, then Once On This Island is the show for you. Directed and Choreographed by Tom Wyatt, with Musical Direction by Elizabeth Fink, the uplifting and joyous music of this stirring tale of love fighting to survive in the face of death is an astonishing experience all its own. Add to it the sensational talent put forth in this particular production and you have a show full of heart worth experiencing over and over again.
Escape to an island paradise— or at the very least a fantastically imagined one— by way of Scenic Designers Sammy Jungwirth and Jason Randolph. As trees are an integral part of TiMoune’s story, so too are they an integral part of Jungwirth and Randolph’s design work. With two life-like trees that are dynamic in depth and spatial existence, and one striking tree that appears near the end of the production, it is clear that Jungwirth and Randolph have clear vision when it comes to theatrical magic in the scenery department. Their scenic splendor is balanced and complimented by Lighting Designer Thomas P. Gardner, whose work expertly highlights not only the trees (when they are featured) throughout the performance but captures the essence of the musical spirit as it unfolds over the journey of the show. Gardner’s work features multiple instances of brightly popping island-colored lights that almost ‘dance’ with the music. And there are other moments— particularly when Papa Ge is involved— where the total-color-washes really amplify the overall musical mode happening in those moments.
Director, Choreographer, and Costumer Tom Wyatt has succeeded in creating a splendid exotic island atmosphere not only in the talent he has selected to tell the story, the enchanting dances that are infused all throughout the musical numbers, but with the stunning costumes that are deeply saturated in lively colors that reflect the vibrant and resilient life on this island— jewel of the Antilles. With four Gods— of water, earth, love, and death— the costume possibilities are endless and Wyatt does a brilliant job of almost scaling down the sartorial selection for these characters. Make no mistake they’re still quite stunning— Asaka’s earthen cloak-cape which looks like a blanket made from a meadow or Erzulie’s shimmering dress of passionate purple the color of romance and ardor beyond that of simple red— but they are not so distracting that you cannot enjoy the stellar performances given by each of these sensational performers embodying these larger-than-life roles. Wyatt’s choreography includes a lot of native movements with islanders responding to the rhythmic motions of the music whenever they are telling the story, a common recurrence in this production.
With a power ensemble (Teni Adedire, Angela Boeren, Favour Chukwuma, Allyson Gray, Nicholas Johnson, Jalen Mandley, Matthew Reeds, Monica Reich, Amber Williams) you get a truly moving and powerful sound during big numbers like “Prologue/We Dance” and “Pray.” Musical Director Elizabeth Fink brings strong, balanced harmonies out of everyone, particularly when they sing as a full company. The ensemble/storyteller bunch move and sing and dance and narrate often as one voice, even when speaking in separate segments and it is very impressive. Their lively nature keeps the story burbling with excitement and keeps the audience on the edges of their seats in sheer anticipation, waiting to see what happens next.
With a sweet and surprisingly powerful voice (in comparison to the adult company members all around her) Little TiMoune (Lilah Peinado) is quite the character. While at first she doesn’t sing or talk, Peinado gives great facial expressions and has supercharged energy for running all over the stage. You get to hear Peinado’s voice later in the show and it is very impressive for such a young talent. While not quite so young as Little TiMoune, Alexandra Kostakis does a stellar job in the role of Andrea— a cameo feature in the second half of the show. With graceful and fluid physical movements and a siren-like voice that soars sweetly through the bits of song which are her featured solo, it Kostakis makes it nearly impossible to dislike her character even once her character’s true identity and purpose is revealed.
Mama Euralie (Cheryl Campo) and Tonton Julian (Damian Briscoe) are the pillars of support upon which TiMoune’s story is built and carried. Briscoe has a deep and moving voice, not unlike a strong river current that can easily sweep you away in his melodic lyrics. Campo is maternal in all senses of the word, from nurturing to stern and everything in-between. With a voice that could lull you safely to sleep— truly like that of a mother whispering a lullaby— it is easy to become enchanted when Campo sings, especially during “One Small Girl.” When Campo goes head-to-head with full-grown TiMoune during “Pray” it is extremely intense— this moment that is cultivated between the mother-daughter characters— and Campo brings a serious emotional punch in this moment. There is dire bittersweet sorrow that Campo brings to “TiMoune” the penultimate song of Act I, which gives you— as the kids say— “all the feels.”
Asaka (Randi Seepersad) Mother of the Earth!
Agwe (Anderson Gray) God of Water!
Erzulie (Alana Simone) Goddess of Love!
Papa Ge (Tai Alexander) Demon of Death!
The four phenomenal performers are forces to be reckoned with both physically when it comes to portraying their particular God and vocally when it comes to belting it out. Each of these women proudly embodies these God character— Seepersad’s Asaka is jovial and lively, Gray’s Agwe is fluid and forceful, Simone’s Erzulie is twitterpated and smooth, and Alexander’s Papa Ge is fierce and frightening. The facial expressions these four put forth whilst performing— especially the perpetually condescending look of extreme power pinched into place on the face of Papa Ge by Tai Alexander— fully animates the effervescent personalities of these Gods. They bring extraordinarily powerful sounds to “And The Gods Heard Her Pray” and the beautiful harmonies that arise in this number is striking. Each God gets a brilliant solo number as well— Anderson Gray’s “Rain” showcases a voice like a tsunami sweeping out over the audience. “The Human Heart” could easily be the show’s torch song as delivered by Alana Simone’s Erzulie. “Mama Will Provide” showcases Randi Seepersad’s vocal range and options when she goes for those higher notes, laughing joyously all through this number as Asaka. And the sheer terror that Tai Alexander’s Papa Ge brings out during “Forever Yours” (and its reprise) is just jaw-dropping and spine-chilling.
Zooming around the stage (and not just in his fancy car) is Daniel (Josh Bowden), the true Prince of ‘how the other half live.’ He is charming and charismatic and full of a vivacity that seems to elude the character stereotype, giving Bowden a unique chance to make this rather static character of Daniel a much more dynamic one. Bowden’s Daniel becomes so much more than just ‘the love interest’ in his capable hands. While he only has the one full solo— “Some Girls”— the way he pours his heart into this number makes you really feel the connection between his character and that of TiMoune.
Nia Chavis, in the leading role of TiMoune, is bringing sensational vocal technical to the table in this performance. It is very obvious that her voice has been well-trained, but so much more beyond that, Chavis has an extraordinary command of her stage presence, balancing with the emotions of her character so that when she sings you are given the full emotional experience of her character’s journey and not just a beautiful series of songs. Chavis, appearing as a true triple threat— with a singing voice that is both knockout-sensational and beautiful to hear, a sense of presence and responsivity to those who share scenes with her character, and her ability to let the music move through her and guide her body in brilliant dance— makes TiMoune a character the entire house wants to see succeed. Her dancing is almost tantric and possessed when she starts her number “The Ball.” “Waiting For Life” is a true demonstration of her phenomenal vocal capabilities.
Our lives become the stories that we weave; be sure to weave Cockpit In Court’s Once On This Island into your story— it is a phenomenal summertime experience; this is the perfect show to kickstart the summer theatre season in Baltimore.
Running Time: Approximately 1 hour and 50 minutes with one intermission
Once On This Island plays through June 26, 2022 at Cockpit in Court in the F. Scott Black Theatre of The Robert and Eleanor Romadka College Center at the Community College of Baltimore County Essex Campus— 7201 Rossville Boulevard, Essex MD. For tickets call the box office at (443) 840-2787 or purchase them online.
