Curveball Creatives: Once On This Island - Review by Benjamin Olivera

Imagine an island not bound by geography, but woven from story, song, and the beating hearts of many cultures. It is a place where ancestral spirits rise, love defies fate, and every voice matters. This bold reimagining of “Once on This Island”, presented by Curveball Creative at The Hayes Theatre Company, transforms the stage into a living, breathing tapestry of Australian diversity where Caribbean myth meets First Nations ceremony, and a community of storytellers conjures magic in every movement. This is not just theatre. No. It’s a celebration, an invocation, and a powerful testament to the voices that shape and continue to transform our shared island home.

Photos courtesy of David Hooley

Much of this vision can be attributed to the wonderous direction of Brittanie Shipway. Her direction of Once on This Island is both reverent and revolutionary. The show itself is grounded in the heart of the original text while fearlessly expanding its cultural and emotional scope to fit the broader Australian contextual lens. With a keen sense of theatricality and cultural responsibility, Shipway reframes the narrative through an Australian lens, allowing the island to speak not just as a fictional space, but as a metaphor for this country’s own complex intersections of identity, ancestry, and belonging. Rather than imposing a singular vision, Shipway invites multiplicity. It is clear that she has worked extensively with each cast member to develop characters that feel true to them Each god and storyteller is given space to bring their cultural lineage to the fore, not as ornamentation, but as narrative power. This fosters a layered storytelling style that feels rich, textured, and alive with meaning. The result is a production that pulses with spirit, yet never loses its emotional centre and is an example of how inclusive casting and culturally aware direction can enhance, rather than dilute, the impact of a well-loved musical.

In conjunction with a strong vision, the casting in Once on This Island is a also triumph of intentionality and representation, bringing together a vibrant ensemble whose cultural and artistic identities enrich the fabric of the story. Each performer brings not only their talent but also a sense of lived experience, making the island feel genuinely inhabited by a community with real roots and histories.

At the heart of Once on This Island are the performances of Thalia Osegueda Santos as Ti Moune and Alexander Tye as Daniel, whose contrasting energies anchor the emotional arc of the story with nuance and presence. Santos is a rising star up on that stage, with her charisma charming audiences from her first appearance and her genuine interpretation of Ti Moune was refreshing and vulnerable which was delightful to watch. Tye found the perfect balance between entitled and smitten in his portrayal, which made the heartbreak at the end of the show so gut-wrenching Together, Santos and Tye share a chemistry that feels honest and unforced. Their connection allows the central love story to resonate without veering into sentimentality, offering instead a poignant reflection on the hopes we carry and the many different boundaries that can stand in their way.

Paula Parore commands the stage everytime she graces us with her presence. Her Asaka is filled with youth and vibrance, even as the maternal figure of the gods. Her performance is genuine and never over the top, creating this beautiful and raw connection between the gods and the villagers, and man don’t even get me started on those killer vocals during “Mama Will Provide”. Alongside Parore is Googoorewon Knox. Watching this man on stage was so refreshing as much as it was awe-filling. The command that he has over the audience and the story is so great so that much of the story changes with his power, and yet he is very grounded and calm when needed. His vocals are velvety and smooth, filled with a passionate tone and his acting is grounded and stable. A strong foundation for this equally strong cast to build upon.

Photos courtesy of David Hooley

Rebecca Verrier was such a clever presence on stage as Papa Ge. She is hauntingly terrifying onstage, however this isn’t because of a villainous approach, but moreso because of her honest, calculated and inevitable nature that she portrays on the stage. From her movement choices down to the tiniest facial expression, Verrier was a captivating presence on the stage and often stole the spotlight due to her strong characterisation. Cypriana Singh as Erzulie was joyous to watch, and some may say she was warmth personified in a deified form. Her power comes from her more reserved choices and her vocals are ones that continue to carry the storyline of the heart of the show. These choices compliment those of Verrier so refreshingly and the two often have quite good chemistry on stage resulting in special moments that weren’t present in other productions of this show.

Sione Mafi Latu is nothing short of beautiful as Tonton Julian, combining gentle warmth, strong baritone vocals and sincerity on stage to create a heartfelt anchor for our leading lady. Even down to the characterisation of characters of varying ages, the physicalisation and vocal adjustments are exactly what this production needs to elevate it into greatness. One of my favourite performers of the night would have to be Zahrah Andrews as Mama Euralie. Her vocals were rich with emotion and timbre and her acting was strong and true to that of a parent dealing with the transition of having a young adult child. Furthermore she added so much vibrancy into the other various ensemble characters she played, so much so that every character was both vocally and physically distinguishable; the sign of a truly seasoned performer.

Bash Nelson as Armand was so interesting to watch due to the contrast of the many other roles that he played in the show. Regardless of where he was placed, he was able to deliver moving and emotionally deep performances. I also thoroughly enjoyed the shadow work that he did and had the audiences listening to his every word with his singing and speaking voice. This skill, whilst perceived as easy, is one that I don’t see as much in blackbox theatre and should be commended. Upon first glance, Chaya Ocampo’s Andrea was quite off-putting, however she had the skill to keep audiences hooked and help them realise that she was just a victim of circumstance. The emotional intelligence and presence that this requires is immense and Ocampo should be highly praised for this stellar performance.

Lets not forget the superstar on-stage swings Paul Leandre Escorrido and Sara Camara. Being in the ensemble of a show is hard work, especially when you only have limited moments to be onstage. These two incredible performers were still able to utilise these times onstage to elevate the stories being created onstage to the next level. Every decision they made, both vocal and acting, was thoughtful and nuanced, in addition to bringing their own two cultures to the wonderful mix that this show provides. This show also has deceivingly complex vocal harmonies and balances that I am sure were aided highly by the work of these two performers.

Photos courtesy of David Hooley

Leah Howard’s choreography in Once on This Island at the Hayes is full of energy and heart. She mixes traditional islander style choreography with the choreography, movement and traditions of all cultures that really bring the story to life. The dances honestly feel like a true celebration of community and culture which adds such a level of nuance to the show that isn’t often present. In such a small space, the movement hits even harder, making the emotions feel real and close. Her work is a big part of what makes this show feel alive and authentic.

Dylan Pollard (MD) Kevin Wang (AMD) lead the musical direction of the show expertly, capturing the vibrant spirit of the Caribbean score with ease. The blend of authentic percussion with rich orchestration creates an engaging, rhythmic foundation that drives the story forward. The cast’s vocal performances are confidently supported, balancing powerful ensemble moments with intimate solos. This musical direction brings energy and emotional depth, enhancing the show’s storytelling with clarity and cultural respect, especially in the part where the pit was revealed to the audience as an element of the party.

In the intimate space of the Hayes, Once on This Island comes alive through Nick Fry’s resourceful and evocative set design. Forgoing grand spectacle, the production leans into tactile, makeshift materials such as wood, cloth, rope to create a world that feels both hand-built and steeped in story. Despite this, I would’ve loved to see real plants and greenery on this set rather than some plastic greenery, especially that of native flora to create more of a natural feel. In addition, Véronique Bennet’s lighting design is fluid and atmospheric, shifting seamlessly between the earthy warmth of village life and the mystical glow of the gods’ presence. Subtle changes in tone and shadow enhance the storytelling, adding emotional depth without ever overwhelming the space or the storyline. Even the opening setting where the establishment between the gods and villagers occurred was so powerful thanks to the use of effective lighting.

The costume design, headed up by Rita Naidu is imaginative, detailed and inherently tied to the directorial vision, blending natural fabrics and earthy tones to reflect the villagers’ world. The gods are distinguished through bold, stylised touches, vibrant colours, textured layers, and found-object details. These elevate their presence while staying true to the production’s handcrafted aesthetic. It’s a cohesive and character-driven approach that visually supports the story’s blend of myth and realism. Furthermore, the final costumes reflecting the culture of each of the performers was something breathtaking and never before seen in the Sydney theatre scene. It is moments like this which make me stop, reflect and remember the power and beauty of theatre and it’s continuous impact.

Photos courtesy of David Hooley

The sound design created by Christine Pan & Simon Mitchell is immersive and finely balanced, capturing both the rhythmic pulse of the island and the intimacy of its storytelling. The vocal balance blends seamlessly with the live music, while subtle effects such as storms, spirits, and ambient textures enrich the atmosphere without overpowering the performances. At the performance I attended, a few microphones were inadvertently live during quieter emotional moments, resulting in minor but perceptible interruptions that momentarily disrupted the emotional continuity of the scene.

Overall, Curveball Creative’s production of “Once on This Island“ is not just innovative, rather, it’s refreshingly restorative. It clearly showed its audiences that storytelling is a legacy that is worth passing on. It gives a voice to communities too often absent from Australian mainstages, and in doing so, reminds us that great storytelling not only entertains but reflects who we are and who we aspire to be.