By Carole Di Tosti . . .
Everyone should write their own story. But how is this possible if an omnipotent narrator demands obedience upon the threat of banishment? We discover dreams can come true in the effervescent Britney Spears jukebox musical Once Upon a One More Time. Currently rocking the Marquis Theatre, the production speeds through two hours and thirty minutes with one intermission.
The book, by Jon Hartmere, unspools by integrating Britney Spears’ hits to propel the plot. Hartmere’s work is a send-up of feminism, the patriarchy, male privilege and #metoo, using storybook characters. The show presents a tweaked, comedic iteration of fairy tale princesses who become enlightened and empowered to control their own narratives and speak truth to power.
Is the concept tired? It depends . . . (think the deep South). Regardless, the high-octane production is an eye-popping extravaganza that shimmers with delight under Anna Fleischle’s scenic design, Loren Elstein’s costume and hair design, Kenneth Posner’s lighting design, Sven Ortel’s production design, Nikiya Mathis’ wig design, Andrew Keister’s sound design, with Daniel Wurtzel as air sculptor.
Thanks to Keone and Mari Madrid’s direction and choreography, and David Leveaux’s creative consultation, sensational numbers (e.g. “Circus,” “Oops!…I Did It Again,” “Stronger”) gyrate with hyperdrive intensity. Interspersed with fast-paced, farcical comedy, the songs and reformed lyrics are dynamic and engaging.
An important feature is the production’s tone. The show never takes itself seriously, as it sneaks in ironic jokes about the patriarchy. Sadly, many in our nation cling to entrenched mores and folkways as ancient as the fairy tales themselves.
Once Upon a One More Time is not about Spears’ life in its glory, tragedy or tabloid-sensationalized rendering. However, fans do rejoice at the numerous references to the star, who has been identified as the “princess of pop.” The music is iconic Spears heightened for Broadway consumption by Patrick Vaccariello (music supervisor/coordinator), Ben Cohn (music director), James Olmstead and Matt Stine (orchestrations) and Matt Stine (music producer). The show is a tribute to Spear’s legacy and talent as a singer, songwriter and dancer.
Act I begins with “Baby One More Time” and concludes with “Scream & Shout”/I Wanna Go.” The songs meld with the story of Cinderella’s awakening to her puppet’s life hooked up to a philandering Prince Charming (“Womanizer”). As the Prince, Justin Guarini’s hysterical and energetic “Oops!…I Did It Again,” even includes a section of original choreography by Tina Landon that makes the audience explode with a joy that is contagious.
The shorter Act II cycles through the princesses’ rebellion, beginning with “Crazy” and closes with “’Til the World Ends.” At the conclusion, each of the characters receives their own quill pen with which to write the lives they wish to live in freedom.
In Hartmere’s book, the Narrator—an increasingly frightening Adam Godley—directs the characters’ entrances and exits, upbraiding them if they behave with independence. He keeps them in line by threatening to banish them to “Story’s End,” where they are swallowed by oblivion.
Thwarted and bored by her repetitive life marrying Prince Charming over and over again, Cinderella (Briga Heelan) questions what “happily ever after” means. She suffers loneliness (“Lucky”) and wishes for a deeper love, and freedom from harassment by her stepsisters (Amy Hillner Larsen, Tess Soltau), and the strictures of her stepmother. As the stepmother, Jennifer Simard is a showstopper. Her dry, ironic delivery pings every line with lucent originality. The wicked three order hapless Cinderella to “Work Bitch,” a riotous crowd-pleaser.
Importantly, Cinderella’s curiosity is stoked after “notorious” O.F.G.—which stands for Original Fairy Godmother—gives her Betty Friedan’s The Feminine Mystique to read. The superb Brooke Dillman’s O.F.G. is an obvious play on Ruth Bader Ginsburg (R.B.G.) and Ginsburg’s tremendous influence on the Supreme Court, which has fast faded.
Learning about equal pay for women and various second-wave feminist concepts, Cinderella becomes the inspired leader of the other princesses, all paper-doll cutouts in form and function. The most hyperbolic is Cinderella’s BFF, the clueless Snow White (Aisha Jackson brings down the house in featured solos). Other princess friends include Rapunzel (Gabrielle Beckford), Princess Pea (Morgan Whitley), Sleeping Beauty (Ashley Chiu) and the silent and funny Little Mermaid (Lauren Zakrin).
As the Narrator cues the performances of their storybook scenes for the Little Girl (Mila Weir or Isabella Ye on various days), the avid youngster happily learns from Cinderella and the other princesses. But all is thrown into chaos when Cinderella escapes at the conclusion of Act I. The question remains: will she and the other princesses succeed when the Narrator and Simard’s deliciously insidious Stepmother join forces in “Toxic”? It is the most memorable of the electrically charged numbers which bring down the house (Guarani’s “Oops” is a close second.)
Once Upon a One More Time is more complex than it initially seems. There is even a humorous, adorable love affair between Clumsy (Nathan Levy) and Prince Erudite (Ryan Steele). Britney fans will appreciate the theme of breaking free from exploitation and paternalistic oppression. Final kudos go to the creative teams, the fine ensemble work and outstanding performances.
Once Upon a One More Time. Open run at the Marquis Theatre (210 West 46th Street, between Seventh and Eighth Avenues). Two hours, 30 minutes with one intermission. www.onemoretimemusical.com
Photos: Matthew Murphy
