By AJ Jaffari

What happens when music becomes the language for everything we can’t quite say out loud? Once at Berkeley Playhouse reminds us that sometimes the most powerful love stories aren’t the ones that end with grand gestures, but the ones built through quiet moments and shared melodies. With its folk-inspired score and deeply human storytelling, the musical invites audiences into a world where connection is found not through spectacle, but through song.

Based on the beloved film, Once follows a struggling musician and an immigrant pianist who form an unexpected bond through their shared love of music. As their collaboration grows, so does the fragile hope that something beautiful might come from it. Berkeley Playhouse leans into the show’s intimacy, creating a production that feels warm, honest, and quietly moving.

This may very well be the most artistically stunning production I’ve seen at Berkeley Playhouse yet. From the moment I walked in, I felt transported into a cozy Dublin dive bar, a space filled with layers of music, movement, and an ensemble brimming with talent and undeniable star quality. Having only seen the film before, I had little to compare this stage version to—but now I find it hard to imagine the story being done any better than this. The score is gorgeous, the story quietly layered with melancholy, and it all culminates in an ending so tender it left my heart completely full.

Before I rave about the principals, I have to give a huge round of applause to this remarkable ensemble. In a show where every performer also serves as a musician, each actor managed to create a character distinctly their own—something Once allows its ensemble to do beautifully. While the entire group was marvelous, a few performances particularly stood out to me. John Mannion (Da), whom I’ve had the pleasure of seeing in several productions, was simply brilliant, and his accordion playing was superb. Sarah Jiang (Reza), whom I previously saw in Wait Until Dark, completely blew me away with her stunning violin work and a voice that is nothing short of spectacular. And Michael Barrett Austin (Billy) delivered impeccable comedic timing—I found myself laughing constantly at his small bits, especially the karate moment that quickly turns into a pulled muscle.

Even with these standout moments, what impressed me most was how the ensemble functioned as a whole. Whenever they came together for transitions or musical numbers, the energy was electric—true synergy on display. It felt like a masterclass in how to blend musicianship and musical theatre into one seamless, living world. Tens across the board.

The two leads shared such natural chemistry that I truly felt every emotion alongside them. Jake Gale’s voice was remarkable—gentle and intimate when it needed to be, yet capable of soaring with powerful intensity. Gillian Eichenberger brought an undeniable warmth and charm to the role of Girl, portraying her with such sincerity that by the end I was left with a lingering sense of longing—something that makes perfect sense once you experience the story for yourself.

I’ll start by saying the entire show had a beautiful rhythm to it, and when I say it was artistically impressive, I truly mean in every sense of the word. Matt Owens’s set design was phenomenal. As I mentioned earlier, the space felt completely transformed from previous productions—warm, inviting, and visually rich. I especially loved how the instruments were arranged along the back wall of the set; it kept me guessing which performer would step forward to play next, adding an extra layer of excitement to the experience.

Pam Gray once again proved her mastery with lighting, which looked stunning both in the theater and in the press photos. And the hanging lights inside alcohol bottles? Such a clever, atmospheric touch. With direction by Josh Marx, musical direction by Michael Patrick Wiles, and choreography by Erin Rose Solorio, the entire production felt cohesive, vibrant, and deeply captivating. The show has just been extended, and I highly recommend catching it while you can—it’s truly a must-see.

Once runs through March 29 and tickets are available here.