Continued: 'Island' magic

The theater critic sometimes faces the same question as the systematic theologian: Does analysis dilute a mystical experience? Or as Oscar Hammerstein II so aptly put it, "How do you hold a moonbeam in your hand?"

All I really want to say about Ten Thousand Things' production of "Once on This Island" is that I loved it. It was cool. I laughed. I would have cried if people weren't looking at me. I was totally into it.

Sadly, we feel duty-bound to stretch beyond plebeian outbursts and deconstruct the merits of this deeply affecting story, beautifully staged by Peter Rothstein. Ten Thousand Things has been touring the show to prisons and shelters, and it opens two weekends of public performances tonight at Open Book in Minneapolis. A third weekend follows at Minnesota Opera Center.

So how can the head explain the heart? "Once on This Island" is a joyful proclamation of the human spirit that touches the deepest myths. There is the martyr, the mother goddess, the evil trickster, the selfless helper. There are Greek choruses and storytellers. Characters are transformed through heroic actions of others, classes of people are brought together and common decency wins the day ("Blessed are the meek"). And undergirding it all are an innocent passion and aspiring hope that stand on their own terms.

"Island" uses two mythic sources: the novel "My Love, My Love" by Rosa Guy and "The Little Mermaid" by Hans Christian Andersen. For good measure, its starcrossed lovers face the same fate as "Romeo and Juliet," locked into societal castes that prevent their happiness. As the handsome Daniel Beauxhomme (Eric Avery) laments, "Some girls you marry, some you love."

Short and sweet

Lyricist Lynn Ahrens and composer Stephen Flaherty ("Ragtime") have fashioned a short, sweet musical from these disparate strands and set it in the Caribbean French Antilles. Ti Moune (Celeste Jones) is an orphan who brings joy to childless Mama (Regina Williams) and Tonton (Dennis Spears). On a stormy night, this peasant girl discovers Daniel, a rich young man from the other side of the island, who has crashed his car and lingers near death.

Ti Moune enters a Faustian bargain with the Demon of Death (Kahlil Queen) for the man's life, and holds to her agreement even after her romance becomes impossible. After her death, benevolent goddesses (Greta Oglesby and Michelle Carter) intervene and Ti Moune is given back to the Earth in a pantheistic gesture to nature.

Rothstein's production brims with inventiveness, heart and a first-rate ensemble.

There are big, festive dances -- noisy and fun -- mixed with intimate, quiet duets. Floppy painted paper on a finger becomes a butterfly, bright feathers on sticks are birds, and an emerald frog hops on elastic cords. A dowel adorned with two aluminum pie plates and a makeshift Mercedes medallion represents a car.

Willene Mangham's costumes use minimal effort to denote class and race, contrasting earth tones with electric blues, oranges and greens.

Jones could not be better cast as Ti Moune. Her voice is stronger than it is pretty, but her look and attitude are perfect: big, open and trusting eyes, a smile blessed with a Kennedyesque abundance of teeth, and a tender heart. Williams and Spears are old pros who appear to be having the time of their lives here. Spears nearly jumps out of his skin as he jukes through Aimee Bryant's celebratory African choreography. Carter has a delicate and regal elegance and Oglesby a powerful and radiant presence.

As is invariably the case, Peter Vitale's musical contributions stretch far beyond mere accompaniment. Vitale finds sounds from harp, keyboard, wind chimes, drums and garbage cans. He's joined this time by Michael Donley on keyboard and cowbell. If there is a criticism, I could have used more cowbell.

Otherwise, it is lovely, affirming and renewing. Really. It's that simple.

Graydon Royce • 612-673-7299