ONCE ON THIS ISLAND at Regent’s Park Open Air Theatre
★★★★
“It is the score, the exuberance of the performances and the musicianship that carries this show”
Based on a book (‘My Love, My Love’ by Rosa Guy), in turn based on a fairy tale (Hans Christian Anderson’s ‘The Little Mermaid’), “Once On This Island” has used the bare bones of each while dressing it with more than a touch of Shakespeare’s ‘Romeo and Juliet’, throwing in shades of Alberto Casella’s ‘Death Takes a Holiday’. It is a mix that produces something exciting and effervescent but is ultimately not so easy to swallow. Or follow.
Set in the Antilles archipelago bordered by the Caribbean Sea, the story within a story focuses on Ti Moune, a peasant girl, who falls in love with Daniel Beauxhomme, a ‘grand homme’ from the other side of the island and the class divide. The island is ruled by four Haitian Vodou Gods (of earth, water, love and death). Ti Moune and Beauxhomme are brought together as a result of a wager among the gods. Is love stronger than death? Or vice versa?
Directed by Ola Ince, it opens the new season at Regent’s Park Open Air Theatre. As dark clouds spill their empty threats over London, a fabricated storm ignites the stage and the action. A burst of sight and sound, but lacking real substance. It is the score, the exuberance of the performances and the musicianship that carries this show. Stephen Flaherty’s music (with book and lyrics by Lynn Ahrens) creates the atmosphere and the setting, despite Georgia Lowe’s sparse backdrop that fails to give any real sense of location. As the sun sets, however, Jessica Hung Han Yun’s evocative lighting creates the requisite tropical hues that help us to forget the London chill.
The solid cast lead us through the musical numbers with an energy that keeps the piece alive. Gabrielle Brooks, as the adult Ti Moune, gives a powerful and enchanting performance, locked in the suffering of her unconditional love for Stephenson Arden-Sodje’s perfectly voiced yet undeserving Daniel. One fails to see how Daniel earns such devotion, nor can we truly understand the sacrifices Ti Moune makes for him. But after all, we are in the hands of the Gods, so it is best just to relish in the pageant. It is a show for the senses and not for the heart.
With a six-piece band – led by Musical Director Chris Poon- tucked away somewhere in the treetops, the ensemble cast are given the propulsion needed to reach for the stars, aided by some fine numbers. ‘Mama Will Provide’ lets Anelisa Lamola’s voice soar as Asaka, the Mother of the Earth. The standout is Lejaun Sheppard’s Papa Ge: Demon of Death, who sets the stage alight (literally) each time he appears. Yet each cast member is an indispensable pulse that keeps the beat throughout. The belting numbers ‘Waiting for Life’, ‘Pray’ and ‘Forever Yours’ early in the show are later reprised and given new life and meaning.
There is plenty of life in this revival of “Once On This Island” but not so much meaning. There is definitely enough to satisfy the senses in this little pocket of London where Camden borders the Caribbean.
“Brooks practically steals the show with her soul-stirring “No Woman, No Cry”.
There’s a backline of oversized speakers, on which the cast and musicians sway to the beat while Bob Marley bounces downstage to take the microphone. Over the vamping, pulsating music, Marley introduces the cast members, inviting applause for each name check. We are definitely in gig territory here – not one of the oldest, most elaborate West End theatres. A sensation reinforced by the stripped back narrative that follows. The music is key. But like with Marley himself, it serves the purpose of getting the message across in ways that mere words cannot achieve.
David Albury bears a striking resemblance, physically and vocally. He is the alternate Bob Marley, but the role seems to have been written for him alone as he takes us on the journey of one of the most popular, yet most misunderstood, musicians in modern culture. Marley has achieved immortality, but some argue that his image is commercialised and diluted. “Get Up Stand Up!” gives us a glimpse of the real deal. The ghetto kid who believed in freedom. And fought for it. The convert to Rastafari. The kid sent away by his mother to Kingston for a better life. The ambassador of love, loss and redemption. The victim of an assassination attempt who headlined the ‘One Love’ Peace Concert in 1978, receiving the United Nations Peace Medal of the Third World. The cancer victim. But we also catch sight of the misogyny, the carelessness and self-absorption that affected those closest to him – namely his wife, Rita (Gabrielle Brooks), and long-term girlfriend, Cindy Breakspeare (Shanay Holmes).
The most revealing and poignant moments of the evening are provided by Brooks and Holmes. Hearing Marley’s words resonate from these two formidable women’s voices adds layers of compassion, tenderness, and bitterness. Brooks practically steals the show with her soul-stirring “No Woman, No Cry”.
Marley’s somewhat questionable attitude towards women is certainly thrown into the spotlight, and while writer Lee Hall tries to mitigate by highlighting Marley’s ‘marriage to the band’, we never really get a sense of what makes him tick. As mentioned, we do only get the broad outlines. The dialogue between the numbers does tend to assume we know so much already. But with such a wealth of material that’s probably a necessity, and it does spur us on to do our own homework. In the meantime, we can relish in the sheer energy of Clint Dyer’s production. It is a jukebox musical that never feels like one. Marley’s songs are the soundtrack to his life, so obviously make the perfect soundtrack to this sweeping panoramic vision of a visionary artist. Dyer races through the story, but occasionally stops the track to zoom in and focus on particular moments. Marley watches his younger self (brilliantly played by Maxwell Cole) leave the family home, while later on the young Marley stands by to witness his older self receive his cancer diagnosis.
These moments of unconventionality never detract from the ‘concert’ feel of the show. And, after all, it is the songs that tell the story. Shelley Maxwell’s choreography is stunning but, with an eye on a West End audience, occasionally mismatched to the material. But the roots are still there, just as Marley stayed true to his own roots even when Chris Blackwell of Island Records (Henry Faber) sensed a need to reach out to the predominantly white, British audience in the 1970s.
The set list is comprehensive, including lesser known, more lyrically challenging numbers along with the signature tunes we know and love. As the evening slows down to a plaintively acoustic “Redemption Song” we see the intoxicating mix of the gentle and the explosive that coexisted within Marley’s spirit. And his spirit is in full attendance throughout the night. The crowd can’t fail to follow the command of “Get Up Stand Up” during the rousing encore.
