Constellation Theatre Company: Once On This Island

 

Once On This Island sounds like the beginning of a fairy tale, doesn't it?  And it sort of is.  The story is told by various guests at a party that is interrupted by a big storm when the lights go out.  They tell the story to a little girl who is frightened by the wind and rain.  And in telling the story, they become characters in the story, even as the little girl becomes the protagonist of the tale.

It's a lovely story full of island gods and twists of fate and an ending that is full of grace.  It certainly helps if you can set aside the classism, misogyny, and racism--so perhaps it isn't a lovely tale, but a tale told in a lovely way.  For in the end our protagonist, Ti Moune, cannot, even with the help of gods both good and evil, overcome the classism, misogyny and racism that denies her a life with her true love.  Yet, she is able to transform herself into a mighty tree that will always stand guard over him and his children.

The sets were beautiful and well integrated into the light design so as to be one supporting presence--together, a work of art. Kudos to Jessica Alexandra Cancino (sets) and Peter Leibold VI (lighting).  The space is as intimate as your basement...though slightly larger, I'm sure.  The theater occupies the hollowed out store front of a building (shotgun) that I'm guessing is well over 100 years old.  There is a set of walls between the lobby and the staging area with two restrooms, one on either side of the doorway to the inner area.  Because the interior is not a fixed structure in any way, the "stage" can be created to fill up the rear of the space or run along one of the sides with the seating arranged to accommodate the stage.  I've been to productions with either set up, and it's always a bit of surprise wondering what's it going to be this time.

I had a seat in the second row on the aisle and the seats were arranged on risers so that the person sitting in front of me was far enough below me not to create the slightest possibility of restricting my view.  The actor's being on the same level as the first row, their actions came within inches of the audience, and a couple of times if I stood up and reached out, and the actor in front of me had done the same, I am certain we could have touched fingers over the head of the lady in the first row!  In fact, at one point she got up and switched seats because I think the proximity made her feel uncomfortable.

The cast is made up of 11 actors, 5 men and 6 women.  One of the woman plays the child Ti Moune, and another plays the adult Ti Moune, and these are the only fix role parts in the show.  The remaining 9 actors each inhabit 1 major character and then they also play a variety of ensembles roles from party guests to city folk, to villagers, et. al.  Of the actors themselves, they represented a wide range of body types and skin tones and apparent athleticism making for a wonderful kaleidoscope of ensemble groupings and the choreography was strong for such a small area to move in.  Hat tip to Maurice Johnson the choreographer (who btw got is training and degree in Lexington, Kentucky.  One of my old stomping grounds.  Small world).

With so many talented and visually interesting actors to follow, it's hard to see any one player stand out.  So let me elevate three.  Kalen Robinson as the adult Ti Moune.  Clearly the first among the many.  She has a wonderful stage presence and just a beauty in this role that allowed her to be both vulnerable and powerful as the character evolved.  She also has the most powerful voice of the ensemble, and herein lies perhaps my only complaint, if even complaint is too strong a word.  At times she used the power of her instrument to sing as if she were in Carnegie Hall reaching for the nosebleed section.  And honestly, it was just too much.  Fortunately, it wasn't so much of her singing that it became an obstacle to my enjoying the production.  She certainly proved that she didn't have to sing that way to enthrall with her voice.  I chalked it up to poor vocal direction from whomever was coaching the singing.

Contrast that with the work of Edima Essien who's principle non-ensemble role was that of Asaka, one of the four gods; the god of life.  Her acting was wonderful and so was her singing.  Perhaps it was the positioning of her songs in relation to those of Kalen that made the wisdom of her choices stand out in my mind. 

The third actor I want to highlight played one of the other gods, Papa Ge, the god of death.  Carl L. Williams brought the "it" factor to his portrayal.  When playing Papa Ge, he seemed to relish the role of soul-stealer, keeper of the key to oblivion.  It was delicious.  In reading the actors bio's, he was the only member of the cast to have also held major supporting and lead roles in Broadway touring companies (Harpo in the Color Purple, Ziggy in Bob Marley's Three Little Birds, and Pigeon for goodness sake in Don't Let The Pigeon Drive The Bus).  I'm sure that he got those roles as a result of his presence, and he probably hones that presence as a benefit.  The program also stated that he was in the Constellation Theatre Company's production of Urinetown.  I saw that production (September 2016), and he didn't have a set role in it, so I'm assuming at that point he was an understudy.  That being said, his understudy days are over.

Another wonderful event at a DMV theater.

Asaka (Edima Essien), god of life giving advice to Ti Moune (Kalen Robinson)

Ti Moune with her ill-fated lover Daniel (Emmanuel Elliot Key)

Member of the cast in an ensemble number, L-R: Bianca Lipford, Edima Essien, Emmanuel Elliot Key, Theodore Sapp (behind E. E. Key), Sydney Johnson, and Carl L. Williams