Once on This Island: Savannah Cultural Arts

Bravo to DJ Queenan and Savannah Cultural Arts for demonstrating precisely what the theatre in Savannah is capable of once it has the resources it needs at its disposal. With the production of Once on This Island, the production team of Savannah Cultural Arts has mustered the significant creative power from various agencies throughout the city and created something truly enjoyable for the city.

The script, by Stephen Flaherty and Lynn Ahren, actually does fairly little to assist a production in the realm of audience identification or empathy. The piece, essentially a retelling of the 1830 Hans Christian Andersen fairytale The Little Mermaid, suffers from the classic character weaknesses of the traditional fairytale. Characters are, by and large, ciphers and silhouettes. Indeed, the main character, Ti Moune (played by Brittny Hargrove), is largely pathetic, surrendering herself to a mad quest for love. However, such victimization (self-inflicted or otherwise) is common among fairy-tale heroines and should not be taken as unusual. It is simply a measure of the script's weakness that such remains the case for Ti Moune. However, the liability is limited due to a solid showing by Ms. Hargrove.

Despite weaknesses of the book, Mr. Queenan has managed to assemble an entertaining and stimulating show. His most recent musical endeavour, The Boyfriend for the Little Theatre of Savannah, fell short largely due to musical limitations. However, the more formidable resources of the city allowed for the hiring and retention of a much stronger musical core. Further, energetic and appropriate choreography has been provided by Muriel Miller and Nancy Holmes of Abeni Cultural Arts (who also made quite an impression with their dance-based Othello during the Savannah Shakespeare Festival). The strength of the dance not only exceeded expectation, but also provided a very visceral connection to the Caribbean beat of this piece.

Further, the city has managed to bring in the varied talents of designer Danica Leigh (who provided the headpieces of the god characters), Adrienne Cronberger (costumes), and the acting talents of Ryan McCurdy, who had an excellent turn as an engaging Papa Ge. Again, the variety of resources which can be drawn upon by the city, including Abeni, Cardinal Rep, and SCAD, are a testament to the strength of Savannah's theatrical community. However, as has been evidenced by other productions, that strength is only made most fully evident when the proper resources can be brought to bear on the project. Much like this years Shakespeare Festival, Once on This Island has primarily succeeded by pulling in an combining the various orbits of Savannah's theatricality.

It should also be noted that this marks Mr. Queenan's final production with the city's Department of Cultural Affairs. He is departing to teach at Savannah Country Day, where The Savannah Dramaturgy hopes we will see more good work from him and steps forward in the training and inspiration of young artists. It is our fervent hope that Mr. Queenan's successor will draw upon the integrational abilities of the city in order to continue to strengthen Savannah's theatrical community.