Theatre Raleigh's "Once on This Island" is a Transcendent Tale of Heartbreak and Hope

Amaya White stars as Ti Moune in Theatre Raleigh's Production of Once on This Island. Photo by Jennifer Robertson Photography.

Right now (and through November 23), the De Ann S. Jones Theatre at Theatre Raleigh looks less like a theatre and more like an island, a Caribbean island to be exact. Real sand crunches beneath your feet, palm trees soar high above your head, and the sound of cawing birds and crashing waves fills your ears.

This is the tropical, dreamlike setting for Once on This Island, a one-act musical which features a book, based on the novel My Love, My Love by Rosa Guy, and lyrics by Lynn Ahrens and music by Stephen Flaherty. Like most fairy tales—and this story definitely counts as one—it’s not as simple as being based on just one work. While the novel is the inspiration, it was also inspired by Hans Christian Andersen’s The Little Mermaid. Thus, there’s a long line of inspiration and re-telling connected with this story. Its winding trajectory, however, makes it feel all the more authentic as the fable or legend that it is. It is the type of story that beliefs, superstitions, and hope stem from, and it reminds viewers that, as the characters sing, “our lives become the stories that we weave.”

The story, in this case, centers largely around Ti Moune, portrayed in adult form by a radiant Amaya White and as a child by a darling Asali Smith. As a child, she is whisked away in a flood, only to have the gods save her life by placing her in a tree. Fortunately, she is found and adopted by an at-first-reluctant Mama Euralie (Natasha Gore) and Tonton Julian (Gerard M. Williams), who ultimately make the girl their entire lives. Their initial hesitance stems not from a lack of care—these are endearing characters who shine with kindness—but from the fact that they are poor peasants. On their side of the island, everyone is poor and dark, and on the other, everyone is rich and light. 

As children do, Ti Moune grows up and, also as children do, she finds herself drawn to the forbidden, the unknown, to a boy, Daniel (Lucas Hinds Babcock), on the other side of the island. The gods, seeing her desire and hearing her prayers, arrange for her to meet Daniel, but in a tragic way, and though she tries her best to save him, she ultimately must strike another deal with Papa Ge (Parris Lewis), the demon of Death, to keep him alive. Ti Moune faces many perils, including a long journey to Daniel’s side of the island, to fulfill her great love for him. 

To say much more about the storyline would be to give away the unfolding of the magic. And, there is a lovely unfolding that happens here—a story that reveals itself beautiful piece by beautiful piece, weaving an ethereal, haunting web of a tale that draws you inside and keeps you entranced in every moment. Director Christopher D. Betts goes to great lengths to keep the world of the story alive and breathing. Characters flow in and out in a way that feels effortless and dream-like, and Taylor Mackenzie Smith’s captivating choreography provides a pleasurable sense of constant movement and life. Highly creative effects—like rippling fabric and shadowplay scenes—contribute to the surreal experience and make viewers feel as if they’ve somehow stepped inside the pages of a beautifully illustrated storybook.

The cast matches this vibrant energy even before the show starts and throughout the entire production. As islanders walk through the audience, selling shoes and mangoes, they create an enveloping atmosphere that feels both sacred and welcoming. Most members of the cast serve as “storytellers,” in addition to their other roles, and they frequently form a circle around the action, dancing, chanting, and casting their swathing spell. 

The four gods, who are central to the story, are portrayed by four women who are replete with strength. Agwe, the god of Water (Okisha Reneé Wells), booms with a powerful voice and intensity; Asaka (Tara Lashan Clinkscales) stands strong and firm as Mother of the Earth; Ezrulie (Shayla Brielle G.) is sweet and sympathetic as the goddess of Love, and Lewis is frighteningly evil with her harrowing laugh and sinister sneers as Papa Ge. Each wears a subtly color-coded costume, designed by Stephanie Bahniuk, to help signify their role. Little touches like these help keep the story, which has many parts and layers, clear for the viewers. 

In fact, the clarity is one of the greatest strengths of this production. In many iterations of this story, much gets lost, which can turn a beautiful script into a frustrating experience. Here, though, a small space where all action is visible at once, crystal-clear sound quality, and clever costuming and staging choices combine to ensure every turn and beat of the tale is clearly conveyed.

Getting back to the tale at hand, and the stunning cast that delivers it, both Williams and Gore give tender performances in their roles as Ti Moune’s adoptive parents. Their gentle voices combine with Smith’s (as little Ti Moune) to create a soothing, sweet lullaby of a song in “One Small Girl.” Babcock also shines in his role as Daniel, and Anne-Sophie Hill provides a beautifully understated portrayal of Andrea, Daniel's other love interest. 

The bright shining star of the production, however, is White. As Ti Moune, she is positively captivating. She moves with such incredible grace and infuses her character with joy, sweetness, and all the hope of a first love. Her bright smile and cascading curls make her look like a fairytale princess, and Bahniuk’s costumes of rich purples and deep hues complement her perfectly. Her voice is every bit as angelic and rings through the room, especially when she delivers the heartfelt “Waiting for Life” number. And, in the rare moments when she stands next to her younger counterpart, it’s clear that Eric Woodall’s casting was done with care. White and Smith look so much alike that seeing them together is like looking at a living age progression, and the on-stage transformation from child to adult is handled in a blink-and-you’ll-miss-it magical way.

The youngest members of the cast also deserve accolades for their mature acting and professionalism. Clayton Mack III is positively precious in his role as the “Little Boy,” while Jarreau Foster Rhyne brings a tender, wide-eyed wonder as the “Little Girl.” And, of course, the story would not be complete without Smith as Little Ti Moune. Her acting runs the gamut from frightened and lost to beaming and loved, and she makes every moment believable.

Ultimately, this is a tale that’s about a lot of things. It’s about culture and preservation. It’s about prejudice and injustice. But, most importantly, it’s about hope for the future. In only 90 minutes or so, you’ll be educated, entertained, and refreshed. Watching this performance is more than just watching; it’s transcending. It’s the stuff magic is made of, and you don’t want to miss it.

Most performances of Once on This Island are sold out, but there are waitlist options available. You can check on ticket availability here.

-Susie Potter