Grit, Gods, and Goosebumps: Redefining Once on This Island in Fairfax

Devon Smith: Critic, The Beltway Blackbox

Photo courtesy of City of Fairfax Theatre Company

Hot Take

I’ve seen this musical more than once, and I’ve always had my reservations. I adore the score, but the story can often feel a bit “cringey” (lack of boundaries and the self-sacrificial tropes usually leave me cold). However, the City of Fairfax Theatre Company’s production on February 20th managed the impossible: it made me reconsider my entire position on the show. Through sheer storytelling magic, this team turned a problematic fable into a triumphant, visceral, and effervescent experience.

The Soul of the Island

The production’s greatest asset is its relentless, soul-deep commitment. From the first percussive beat of Prologue/We Dance, the entire cast was locked in, delivering a performance that felt less like a script and more like a shared ritual. Actually, it started even before that…the actors were onstage, in-character, inhabiting the island during the pre-show/audience seating.

Aliya Gardner is a revelation as Ti Moune. Her performance was devastatingly skilled; she made bold, passionate choices that physically shook the room. Supporting her journey were Brenda Parker (Euralie) and Tyrus Sanders (Julian), who balanced the scales with moments that were as hilarious as they were heartbreaking. Dae’Quon Shines brought a refreshing vulnerability to Daniel, steering the character with a truthfulness and humanity that grounded the more mystical elements of the plot. Rowan Campbell (Andrea) is a standout whose vocals and presence nearly stole the show.

The musical foundation of this production was set by the incredible pit orchestra led by LeVar Betts. They handled the percussive, complex rhythms of Flaherty’s score with professional precision, providing a lush backdrop that elevated every vocal performance on stage.

From a production standpoint, the set was simple and effective, allowing the movement of the actors to define the space. While the physical environment was minimal, the lighting cues were on point and the sound cues were clean, a testament to stage management that was masterfully done.

Much of this cohesion is thanks to the visionary skill of the director, Rikki Howie Lacewell. Pulling off a production of this scale (with its complex tonal shifts, massive ensemble movement, and spiritual weight) is a massive undertaking. Lacewell steered the ship with a steady hand, ensuring that even in the smallest moments, the storytelling remained the priority.

Photo courtesy of City of Fairfax Theatre Company

The Power of the Gods

The chemistry among the deities was a highlight, with the actors staying remarkably ethereal and ever-present, even when the focus shifted. They were anchored by Carolyn Ricks as Erzulie, who proved to be a vocal powerhouse in the group with range and skill that highlight just how gifted this local actress is. Alfred Reid brought a massive stage presence to Papa Ge, and while he was occasionally difficult to hear or understand, his sheer menacing energy and physical choices more than compensated for any lost lines. As Asaka, Bruni Herring offered a perfect blend of strength and gentleness, turning “Mama Will Provide” into a magnetic masterclass, while Kareem Taylor brought a tender, emotional depth to his role as Agwe, the god of the sea. When he wrapped Ti Moune in a wave toward the end of the show, I almost lost it.

The Blackbox Grit

I want to acknowledge that it is unbelievably challenging putting up a production of this magnitude in a non-dedicated space. However, being a Beltway Blackbox reviewer means acknowledging the friction. The production suffered from consistent body mic cutouts and a few dark spots downstage that left performers acting in shadows. There were also some issues with annunciation from several of the ensemble actors who were difficult to understand even with working mics. Additionally, some presentational ensemble acting occasionally took me out of the moment, leaning into “theatre-kid” tropes that broke the immersive spell.

Photo courtesy of City of Fairfax Theatre Company

The Verdict

Despite the tech gremlins, the onstage magic was undeniable. Most importantly, the unwavering commitment from the entire cast was the production’s true engine. This was a raw, collective energy that vaulted over every technical hurdle to deliver something genuinely transcendent. The harmonies were largely excellent, and the gorgeous choreography was executed with precision by a particularly skilled featured ensemble. The musical numbers, “Pray”, “A Part of Us”, and “Why We Tell the Story,” provided genuine goosebumps. This wasn’t just a community theatre show; it was a beautifully synchronized team working together to create some serious storytelling magic.

Just as the gates of the Hotel Beauxhomme crash down to dismantle the island’s class divide, CFTC’s production forged a profound sense of belonging in a world that can often feel cruel and exclusionary. It’s a powerful message that we need so very badly right now: that love, community, and connection can conquer even the strongest forces.

The Details

You have 90 minutes (no intermission) to catch the magic of the performance. The final curtain drops on February 22, 2026. City of Fairfax Theatre Company is staged at Katherine Johnson Middle School (3801 Jermantown Road, Fairfax, VA). Tickets are $31.60 for adults and $16.30 for the kids — grab them online or roll the dice at the door (it’s a large space…you’ll be fine). Full credits and cast info can be found here.