Once on This Island, playing at the Arden Theatre through June 23, is a cheerful musical that premiered in 1990. It was written by Lynn Ahrens with music by Stephen Flaherty. A 2017 revival of the beloved show — a Black Caribbean twist on The Little Mermaid — won the Tony Award for best revival in 2018, and it had been scheduled for the Arden’s 2020 season before the pandemic shutdown.
Once on This Island is based on a novel by legendary Trinidadian author Rosa Guy and is a retelling of the Hans Christian Andersen fairy tale with a sprinkling of Romeo and Juliet — set on an island in the French Antilles.
The production about the power of love against racism, colonialism, and death is finally now onstage. Inquirer arts and entertainment reporters Rosa Cartagena and Earl Hopkins attended a recent performance. Here’s what they thought.
Rosa Cartagena
Arts & Entertainment Reporter
I’m a big musical theater fan, so I was glad to return to the Arden for this production. Earl, this was your first time at the Arden. Did you like it?
Earl Hopkins
Arts & Entertainment Reporter
Yes, I really enjoyed the experience. I’m still new to the theater world, but I’ve watched some great productions over the past year.
I’ve been entranced by Moulin Rouge! The Musical, Beetlejuice, andMrs. Doubtfire at the Academy of Music. How does Once on This Island compare to your other theater experiences here in Philly?
Rosa Cartagena
Arts & Entertainment Reporter
It’s rare to see an all-Black cast anywhere, including Philly. There were nearly a dozen artists who debuted at the Arden in this production, which is always exciting. This show was overflowing with incredible singing — notably Mama Euralie (Chabrelle Williams) and the love goddess Erzulie (Ryane Nicole Studivant) — and dynamic, rapturous choreography, thanks to Philadelphia’s own Devon Sinclair. Plus, it’s a bright, family-friendly musical that feels like a sweet kickoff to the summer.
Directed by Amina Robinson (who recently directed Fat Ham at the Wilma Theater), the Arden’s version lands in Haiti. What did you think of the set?
Earl Hopkins
Arts & Entertainment Reporter
The set was incredible. It took me back to my time vacationing in Jamaica and Belize, the lush beaches, great music, and even better people. Set designer David P. Gordon must have spent time in the French West Indies himself. I have never been to Haiti, but Gordon and costume designer Levone Lindsay took me to Hispaniola island. The Caribbean-style garments and onstage fixtures perfectly matched the feel of the show, so hats off! There were no missteps on that front, but there were a few later on.
Rosa Cartagena
Arts & Entertainment Reporter
Yes! Once grapples with the history of French colonization, and that’s where we get “The Sad Tale of the Beauxhommes,” a watered-down, PG lesson in song about sexual violence. There’s a curse on this family because one of the French ancestors, Armand (Miles Davis Tillman), was a notorious creep who “loved” Black peasant girls and had a mixed-race son with one. When the island revolted against the French, the son defeated the father and sent him packing. So the vile man cursed his own child, and every son after him. I see why the show needs to explain colonial history and why colorism persists in the division of their island, but describing sexual violence as “love” is too kind an interpretation — the history of that very real violence merits more than “love.”
Nadia Ra’Shaun (Ti Moune) and Ethan B. Walker (Daniel) in 'Once on This Island' at the Arden Theatre.Ashley Smith, Wide Eyed Studios
In mixing Ariel and Juliet, the story centers on yet another tragic young girl making disproportionate sacrifices — not just her voice, not just her life, but her soul entirely — for love, and, by extension, some guy. Ti Moune (charmingly played by Nadia Ra’Shaun) is a Black orphan girl from the poor side of the island who saves Daniel (Ethan B. Walker), a light-skinned elite from the rich area, after he’s in a car accident. When the god of death, Papa Ge (a wryly funny Jessica Johnson), arrives, Ti Moune gives up her soul in exchange for Daniel’s. It was hard to be invested when she immediately started with “I’ll die for him.”
Earl Hopkins
Arts & Entertainment Reporter
Yep. That’s about where the story lost me. I was initially swooning over Ra’Shaun and her chemistry with Williams, and the marvelous Christopher Faison who plays Ti Moune’s adopted father, Tonton Julian. But once the romantic element kicked in, I rolled my eyes. It wasn’t believable from the start, and it only worsened as the show went on. I kept thinking, “Man, I hate Daniel.”
Daniel’s true colors were revealed toward the end of the show, and I can’t say I was surprised. What made it less of a shock was how poorly their “love” translated on the stage. He was an untrustworthy jerk from start to finish.
Rosa Cartagena
Arts & Entertainment Reporter
I don’t want to give too much away, but I wish we could’ve seen more of Ti Moune beyond her yearning for Daniel. It’s not quite the racial reconciliation story we’re used to seeing, which is a relief, but it had me wondering what this story can still teach us about the intergenerational impact of colonialism. It might be a real lesson for younger viewers, particularly. In her director’s note, Robinson said she sees this play as an allegory for the violence and devastation Haiti is experiencing right now, and I wonder how deeply that message resonates with audiences.
Eliana Pinckney and Ensemble in 'Once on This Island' at the Arden Theatre.Ashley Smith, Wide Eyed Studios
Earl Hopkins
Arts & Entertainment Reporter
I do, too. I think Robinson’s effort to connect the show’s message and the real instability of Haiti is truly admirable. The symbolism is seen throughout the show, and I think it can apply across many continental lines. There were some great moments in this production.
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