Book and Lyrics by Lynn Ahrens, Music by Stephen Flaherty. Presented by Curveball Creative in association with Hayes Theatre Co
Once On This Island is a joyous celebration of culture and diversity told with immense pride, thoughtfulness and soul
Reviewed by Justin Clarke
Hayes Theatre, Potts Point
Until 31st August, 2025
Tickets: https://hayestheatre.com.au/event/once-on-this-island/
Type: Musical, Based On a Book, Joyously Diverse
If you liked: Moana, The Little Mermaid (Hans Christian Andersen), Cultural Representation
If you were looking for the one of the most diverse and culturally rich pieces of theatre currently on Gadigal land, you’ve come to the right place. With book and lyrics by Lynn Ahrens and music by Stephen Flaherty (Seussical, Ragtime), Once On This Island brings together a gorgeous combination of voices and styles to craft something that is uniquely celebratory in its artistic expression. It may have a pungent air of 90’s Disney throughout its plot, but the embodiment of culture on stage is its true magical appeal.
The choreography design of any Hayes show has to be both tight, and intricate given the intimacy of the theatre. Many succeed, where others struggle. Leah Howard’s choreography falls somewhere in the middle, with the larger dance pieces feeling a bit too contained. The gorgeous integration and rich cultural tapestry that Howard paints with the cast, however, is utterly majestic and unlike anything you’ll see on mainstage theatrical stages in Sydney. There’s a genuine mix of First Nation’s stomping, Māori haka, Brazilian skirt swirling, and Caribbean magic woven into the group pieces. It allows the diverse array of performers to imbue their own culture into the piece and the result is spellbinding.
Nestled in the Hayes Theatre, we find ourselves transported to an unnamed island somewhere in the French Antilles of the Caribbean, thanks to Nick Fry’s beautifully layered set design. Surrounded by the Gods of Love (Erzulie) and Death (Papa Ge), as well as Earth (Asaka) and Water (Agwe) – sadly missing the third element of Fire in which to start their own band – we’re led through the fable of Ti Moune. She is herself a pawn in the games the Gods play as they move their homosapien chess pieces on the board. Which is stronger, Love or Death? Earth and Water are merely facilitators of this bet.
There are familiar elements of Hadestown here, as Ti Moune’s tragic tale is told “again and again” throughout the islands. It’s the story of a girl who – shockingly – falls in love with a boy from the wealthy French descendents on the other side of the island after a near fatal car crash. Like a fish out of water, she ventures into the world beyond her own to cross the divide of class and, hopefully, gain true love.
Based on the novel My Love, My Love by Rosa Guy, which is itself based on the Hans Christian Anderson fable The Little Mermaid, the layers of adaptation at play results in a plot that moves swiftly along, never allowing any of the characters outside of Ti Moune to flourish into three dimensional figures. At its ending, Ahren’s book wraps it all up so quickly you’re left with a whiplash effect before Flaherty lifts you up with soulful wings of music to depart on.
Thalia Osegueda Santos shines with the determinism of Moana, the radiant vocals of Ariel, and an infectious vibrancy…
The similar criticism that The Little Mermaid’s wafer thin love plot receives is also the weakest part in truly investing in Ti Moune’s tale here. Call it age, but I’m siding with Mama and Tonton’s concerns on this one, sorry Ti Moune. So as I now hover over my keyboard holding the critical shovel, rummaging through the treasure chest of this work, I’m choosing to remove the narrative and place it to one side. Instead, let’s explore the real gold that we’ve found within: Brittanie Shipway’s direction and Rita Naidu’s costume design.
Do yourselves a favour and buy the show’s programme (or borrow your neighbours for those penny pinchers) and flick to the back where you’ll find a dissected exploration of Fry’s set design and Naidu’s costumes. There you’ll read a breakdown of the many cultural inspirations that Naidu has taken to craft the pieces in Once On This Island. From Brazilian Carimbó and Salvadorian traditional dress, to Māori piupiu skirts and a cross-cultural flow of the Rainbow Serpent and Chinese Water Dragon, this is perhaps some of Naidu’s best work in her career.
As Ti Moune, newcomer Thalia Osegueda Santos shines with the determinism of Moana, the radiant vocals of Ariel, and an infectious vibrancy you can’t help but fall in love with. Ti Moune’s hope for love quite literally feels like it exudes from her very pores and creeps out over the audience. A simple smile, a deep sigh, an elongated twirl, Santos emotes likeability through it all. And boy can she move!
…one of the purest definitions of art in presenting Australia’s rich cultural tapestry.
Playing the omnipresent Gods, Googoorewon Knox (Agwe), Paula Parore (Asaka), Rebecca Verrier (Papa Ge), and Cypriana Singh (Erzulie) float in and out of Ti Moune’s tale. They pull the strings and play their games like the Gods of Mount Olympus as they embody their own natures. Knox flows with references to the Indigenous Rainbow Serpent, whilst Parore gives the Māori breath of life to her movements. Verrier gesticulates and weaves referential East African ceremonial vocals to her deathly role as, opposingly, Singh emotes the definition of hope in her gliding movements around the space.
There is a message of forgiveness somewhere in Once On This Island, in terms of harbouring hate, in terms of class and race, but it neither gives clarity, nor begs to be a mantle on which to address any of them fully. Your ears will prick up when you hear a voice say, “they hate us because of our skin,” in an ensemble vocal round, but these are fleeting moments of bold depth that feel as though they sit covered by the magical fantasy of the tale.
If you’re wanting a Disney-fied fable where the bad guys receive justice in the end and love conquers all, this ain’t it. This isn’t a story where the two worlds of class meet and find common ground because, let’s face it, that’s not what reality is. Instead, Once On This Island is a joyous celebration of culture and diversity told with immense pride, thoughtfulness and soul. It not only has a stunning Hayes debut role in Thalia Osegueda Santos, but it weaves together one of the purest definitions of art in presenting Australia’s rich cultural tapestry.
Theatre Thought: Genuine inclusivity and cultural tapestries should be more achievable in regular theatrical work. What are ways to integrate these with authenticity?
Cast and Creative Team
Book and Lyrics by Lynn Ahrens
Music by Stephen Flaherty
Director Brittanie Shipway
Musical Director Dylan Pollard
Choreographer Leah Howard
Lighting Designer Véronique Benett
Set and Props Designer Nick Fry
Costume Designer Rita Naidu
Sound Designer Christine Pan
Sound Designer/Operator Simon Mitchell
Assistant Musical Director Kevin Wang
Stage Manager Jared McCulla
Assistant Stage Manager Danielle Debrincat
Assistant Choreographer Kadesa Sonko
Intimacy & Cultural Consultant Cessalee Stovall
Starring Zahrah Andrews, Thalia Osegueda Santos, Alexander Tye, Sione Mafi Latu, Paula Parore, Googoorewon Knox, Cypriana Singh, Rebecca Verrier, Paul Leandre Escorrido, Chaya Ocampo, Sebastian Nelson and Sara Camara.
Theatre Thought:
