|
Borderlands' Debut Musical Is A Once-In-A-Lifetime Experience.
By Dave Irwin
EXITING THE theater after opening night of Borderlands'
first musical ever, there was only one word: stunning. Once
On This Island is an incredible blend of music, motion and
story that genuinely earned its standing ovation. If you've ever
wanted to see musical theater done right, rich in entertainment
and emotion, go see Once On This Island.
Interestingly, although the 22 performers do an outstanding job,
some of the brightest stars are never seen. They are writer Lynn
Ahrens, composer Stephen Flaherty, director Chris Wilken and choreographer
and costume designer Barbea Williams. It's Williams' effort that
makes this production truly spectacular.
Ahrens was responsible for the lyrics and book, with music by
Flaherty. They're a hot commodity right now with their Tony-winning
hit Ragtime. They created Once On This Island a
decade ago based on My Love, My Love by Trinidadian author
Rosa Guy. The musical they fashioned is presented as a folk tale
set against the backdrop of racial and economic segregation between
dark-skinned peasants and the light-skinned rich among the Black
population of Haiti. The story is simple but richly textured,
with elements of Greek tragedy as the gods capriciously meddle
in the life of a young girl, Ti Moune, to find out if love is
more powerful than death.
Ti Moune falls in love with a rich young man, Daniel, whom she
nurses to health after a car accident. She offers her life instead
of his to Papa Ge, the god of death. Later, after making Ti Moune
his mistress, Daniel spurns her to marry a woman of his own class.
Papa Ge offers her a chance out of the deal by killing Daniel,
but she still loves him and accepts her fate. Her death is a deeply
moving scene which even the gods recognize as unjust, so they
turn her into a beautiful tree which watches over Daniel for the
rest of his life.
Director Wilkens, who is also associate artistic director at
Borderlands, elected to use an all African-American cast (except
for four off-stage singers) to underscore the racial theme. His
blocking takes full advantage of the entire area at the large
and very comfortable Proscenium Theatre. His well-conceived touches,
such as obliquely introducing Daniel (as a rich man's car, the
actor simply run around the stage using two flashlights for headlights),
remind us how much can be accomplished with a little creative
thinking.
Williams deserves much of the credit for the success of this
production. Her choreography, based on her encyclopedic knowledge
of dance, clearly raises this musical to a higher spiritual level.
The variety of movement, the range of styles incorporated--from
African and Caribbean ethnic forms to classical ballet and modern
dance--perfectly complement each phase of the tale. She enhances
our pleasure further with her extremely bright costuming, colorfully
differentiating individual gods, peasants and beaux homme
wealth. Frequent costume changes increase the illusion that the
already large cast is even more numerous. She also contributed
cast members: son Beyah Williams-Rasool plays percussion, and
daughter Beah Williams-Rasool is a dancer. Williams' work is world-class,
equal to what you'd find in Los Angeles, New York or London. Her
contribution here offers vital enrichment to Tucson's cultural
opportunities.
From the opening song "We Dance" to the closing of
"Why We Tell The Story," the singing remains consistently
strong. Only a few times during solos were phrases obscured in
the large acoustic space. Off-stage singers further bolster the
sound, affording the cast ample breath to flawlessly execute their
dual-roles as singers and dancers, as in energetic numbers like
"Rain" and "Mama Will Provide."
Myiia O. Watson-Davis delivers a spell-binding performance as
Ti Moune. Her singing and dancing hit the mark perfectly, particularly
during the solo dances that have her traveling through the jungle
to find Daniel, and dancing at his fiancée's Grand Ball.
Her emotional duet with Daniel on "Forever Yours," and
"Good-bye, Ti Moune" (her trio as she leaves her adopted
parents) are especially noteworthy. In the only gaff of opening
night, just before Ti Moune's death scene, her peasant skirt got
tangled, leaving her in knee-length shorts. Proving how professional
a trouper she is, Watson-Davis handled the mishap so adroitly
that some thought it was intentional symbolism rather than a simple
mistake.
Likewise, Damon Bolling is marvelous as Daniel. Never worthy
of Ti Moune's love, Bolling's task is to keep us from hating Daniel
for his cruel and insensitive acts. His solo, "Some Girls,"
has the resonance to help us understand his own plight.
The supporting cast is an exceptionally strong ensemble. Even
so, several stand-out from this high standard: David J. Hemphill
embodies a regal stateliness as Agwe, god of Water; Ellen Benton
as Erzulie, goddess of Love, delivers a solo ("Human Heart")
guaranteed to produce goose bumps; and David Shaw nearly steals
the show as Papa Ge, with his rich voice, comic timing and finally,
tenderness at Ti Moune's death.
If Borderlands ever puts on another musical, they'll have a tough
time topping Once On This Island, no matter what they do.
Once On This Island, a Borderlands Theatre production
directed by Chris Wilken, continues through September 6 at the
PCC Proscenium Theatre, 2202 W. Anklam Road. Show times
are 8 p.m. Thursday through Saturday, and 2 and 7 p.m. Sunday.
Tickets range from $7 to $16. Student rush tickets ($7) are available
on seats remaining 15 minutes prior to performance. For reservations
and information, call 882-7406.
|
|