Introducing the fresh Broadway production “Once Upon a One More Time” – a unique twist on the classic Cinderella tale. This theater review explores the two and a half-hour show, including a fifteen-minute intermission, at the Marquis Theatre. Unfortunately, this dreadful production, which premiered on Thursday night, falls short of expectations. It takes Britney Spears’ popular songs and clumsily incorporates them into a feminist retelling of Cinderella in which the protagonist realizes there is more to life than finding love with a prince. While it’s commendable that Cindy embraces her independence, it would be even better if the musical’s storyline made sense. Sadly, it’s a jumble of nonsensical ideas lacking compelling characters or an engaging plot.
The book writer, Jon Hartmere, haphazardly combines dancefloor hits from the early 2000s with half-formed concepts, resulting in a shapeless mess. “Once Upon” rarely captures the essence of fun, but it consistently feels cloying and impossible to follow. Briga Heelan’s portrayal of Cinderella as a one-dimensional character comes across as a deer caught in headlights. She begins to discover that the concept of “happily ever after” is nothing but a facade while spending time with her princess friends: Snow White, Sleeping Beauty, Rapunzel, Princess Pea, and the Little Mermaid.
The princesses kick off “Once Upon A One More Time” by performing a rendition of “Baby One More Time” in their quest to attract princes. However, Cinderella harbors different aspirations for her future, longing for freedom and the ability to keep both her glass slippers for once or stay out past midnight. The musical relies heavily on the same girl-power messaging found in shows like “Six” and “& Juliet,” but lacks their intelligence and watchability. The cleverness and brilliance of the princess ensemble have been executed more successfully in movies like “Shrek” and “Ralph Breaks the Internet.”
In an attempt to distance itself from Disney, the show features vague costumes designed by Loren Elstein that fail to make a significant impact. The iconic songs by Britney Spears, including “Toxic,” “Crazy,” and “Stronger,” are interwoven into the musical. Despite being terrific songs, they do not transition well into a theatrical production. Hearing them collectively becomes tiresome and, dare I say, monotonous. Co-directors and choreographers Keone Madrid and Mari Madrid inject energy into the numbers, but they lack a lasting impression. Anna Fleischle’s sets are flimsy and sparse, failing to effectively distinguish one location from the next.
The narrative includes strange moments like Cinderella receiving a copy of “The Feminine Mystique” by Betty Friedan from her Fairy Godmother, referred to as The O.F.G. This unusual event appears to be the foundation on which an entire two-and-a-half-hour musical is built. Prince Charming, played by the talented Justin Guarini, serenades the audience with “Oops!… I Did It Again” as he shamelessly pursues multiple princesses.
Among the cast, the standout performance belongs to the excellent Jennifer Simard portraying the Stepmother. Her comedic brilliance shines through, bringing relief to the audience as if they have stumbled upon an oasis in the desert. Adam Godley impresses as the narrator, while Ryan Steele delivers a sweet performance as Prince Erudite, a modest suitor with a secret.
Ultimately, the production wastes the talents of the cast, including the powerhouse performances of Godley, Simard, and Steele, who have previously demonstrated their brilliance in other productions. It’s disappointing to see these gifted individuals squandered in such a toxic wreck. However, there is hope to witness their talent shine in future endeavors that are more deserving of their abilities.
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