May Day in St. Kitts is a pretty big deal: there’s a parade, all the stores and banks in town are closed, the drink is flowing, and the parties go on until dawn. So when three sailors find themselves stranded there after a massive storm, you know they’re bound to make the best of it. Kanika Ambrose’s latest triumph, Moonlight Schooner, impeccably directed by Sabryn Rock, reveals how the undertow of colonialism lurks just beneath the surface of the rolling seas in this heartrending story. Masterfully written and performed, Moonlight Schooner is sure to cement its place in the Canadian theatre canon.

Shannon Lea Doyle’s set design is astounding; able to be easily imagined as both ship and land, the curving set pieces and sea foam green backdrop immediately evoke the feeling of a seaside town. The ropes attached to wooden pillars are raised as masts when it’s time for the schooner to set sail, and lowered by the sailors to create the borders of the house when they’re on land. Des’ree Gray’s costumes not only bring the colourful island vibes to life, but also solidify the story’s colonial roots through Janine’s dresses in particular. Everything about Moonlight Schooner works in harmony to bring Ambrose and Rock’s visions to life.

Moonlight Schooner opens just like Shakespeare’s The Tempest; with the sailors battling the elements to hopefully make it safe into harbour. A fitting beginning, as Shabine proves himself to be quite the poetically inclined sailor. Shabine has taken a novice, Vincy, under his wing, though Vincy’s stomach doesn’t seem to be agreeing to life at sea very well at all. Timothy, another of their crew, has found them a place to stay with his friend Lyle; they’ve washed up on the shores of St. Kitts with their ship in very poor condition. But it’s May Day, so there’s no working for the three sailors. Instead they get to know the town, some of its residents (a little too well), and generally enjoy themselves. But when the sun comes up the next day, the work begins, and all four men must grapple with a future as unruly and unpredictable as the sea they sail.

Throughout Ambrose’s text, there’s a consistent reminder of who the island and its people belonged to at the time. From the costuming to the playing of God Save the Queen, to even the simple celebration of May Day, colonial rule is ever-present in Moonlight Schooner. The most clear example is at the end of the play; as the sailors begin to attempt to fix their storm-wrecked schooner, there’s another larger ship setting sail for England. Vincy can’t help but wave as the massive ship full of hopefuls sets off across the Atlantic. Throughout the play it becomes clear that going to England and trying to make something of yourself is considered to be the ideal to the folks from these island nations; each of the sailors comes from a different country, and yet they’re all fed the same dream of making it big in Britain. Janine, Lyle’s mother, takes pride in the fact that she can live on top of the hill and have all kinds of farmable land thanks to her husband being in London and sending home his earnings. St. Kitts would not see independence for another 25 years after the events of this play take place, and to see the way that British culture has infused its way into the various strata of island life gives us an indication of how some of these elements persist to this day.

The cast of Moonlight Schooner is brilliant; each performer is clearly pouring themselves into their work. Jamie Robinson’s Shabine could have easily wooed me with his Shakespearean quotations and kind heart. Robinson gives Shabine a rough exterior for that soft heart, and has a commanding stage presence. danjelani ellis brings a bright vivacity to Vincy; they give him a rebellious spirit yet with a sweet naivete which makes for an interesting juxtaposition with the other sailors. Daren A. Herbert dazzles as Timothy, his charisma shines in this role and makes Timothy a very likeable character. Tony Ofori’s Lyle is complex and Ofori gives a beautifully nuanced performance. Nehassaiu deGannes’ Janine is heartbreaking in the best way; there’s a softness and kindness underneath her faux-British exterior which makes you ache along with her. The dynamics between these cast members are so easily felt and they work in tandem just like crew mates on a ship to keep this story on course.

Though Moonlight Schooner might deal with some heavy topics, Ambrose has wrapped them up in a story of celebration. Like The Christmas Market, there are moments of light-heartedness which make you smile and dance along in your seat. This gets to the heart of what makes theatre great: the ability to look at the world as it is, or was, and talk about our mistakes while also celebrating what makes life good. Moonlight Schooner is another feather in Kanika Ambrose’s hat, and I cannot wait to see what incredible journey we’ll get to experience through her writing next.

Moonlight Schooner runs at the Berkeley Street Theatre until December 14. For more information and tickets, visit: https://www.canadianstage.com/shows-events/season/moonlight-schooner

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Cover Photo: Daren A. Herbert, Tony Ofori, Jamie Robinson and danjelani ellis. Photo by Dahlia Katz.

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