Dreams Come True in Theatre Raleigh ACT's "Once Upon a One More Time"

Violet Tseng as the Fairy Godmother (OFG) in Theatre Raleigh ACT's "Once Upon a One More Time." Photo by Bianca Merrick Thompson.

If you’re in the mood for a wild concert, grab your body glitter and head on down to Theatre Raleigh. You’ll be met with pounding music (Kesha’s “TiK ToK” was blasting when I walked in), pop princess inspired treats, and a delightfully infectious energy . . . and that’s before the show even starts. Once you’ve entered the arena, i.e. the De Ann S. Jones Theatre, you’ll find that the talented young performers of Theatre Raleigh ACT have taken over.

The stage is fully decked out with glittering streamers, flashing lights, and traveling stage trusses, but this is more than just a concert. It’s Jon Hartmere’s delightful, smart, and wonderfully stylized Once Upon a One More Time. This clever musical, based on music performed and recorded by none other than Britney Spears, is a very meta story-within-a-storybook tale of fairytale princesses, led by Cinderella (Madeline Campbell), who are fed up with their “toxic” storylines. When the Fairy Godmother or OFG (Violet Tseng) gifts Cinderella a copy of The Feminine Mystique, their expanded enlightenment causes them to think outside of the storybook box and embark on a quest for something more, much to the Narrator’s (Graham Gutekunst) dismay. Add in an overly ambitious Stepmother (Greta Spagnardi) who’ll do anything to give her daughters, Belinda (Asali Smith) and Betany (Myriam Azcona), a chance in the spotlight, and you’ve got a wild ride of a story and a sinfully good time.

After the princesses are properly introduced in “. . . One More Time,” the Princes get a chance to shine. Their hilarious rendition of “Make Me,” featuring carefully re-imagined lyrics and fabulously-executed boy band moves, is just the beginning of what this musical has to offer. Tim Malboeuf’s fun, funky, and flawless choreography, complemented by Blaire Thompson’s expert direction, pervades every moment, creating a frenzied music video effect. That effect is further compounded by purposefully hazy lighting, flashing strobes, and shimmery over-the-top costumes, complete with about a thousand hair clips, that will strike a chord with any millennial. 

Donned in their aesthetic apparel, the large-and-in-charge cast does not disappoint. Campbell is both sweet and spunky as Cinderella, with a vocal range to match her emotional journey. She shares the spotlight with her not-so-bright bestie, Snow White, delightfully portrayed by Ariana Ayala. Ayala’s perfect comedic timing, paired with her strong vocals—especially during “Oops!... I Did It Again”—makes her an easy standout. Their mutual love interest, Prince Charming, is played by Kael Alley who really is . . . well . . . charming. His likeability shines through his character’s clueless bravado and arrogance. Speaking of likable princes, the always hilarious Noah Bailey nails his role as the sweet, lovestruck Prince Erudite. His tender moments with the adorable, doe-eyed Clumsy, sweetly portrayed by a believably-in-love Zaer Hayes, are some of the show’s most touching.

On the “evil” side of things, Spagnardi is a hit as the scheming Stepmother. Her sprawling black costumes, gleaming red hair, and wonderfully wicked delivery of the show-stopping “Toxic” make her a villainous delight. She’s often found flanked by her sweeter-than-they-seem daughters who steal every scene they’re in. As the stepsisters, Smith and Azcona flutter on and off the stage throughout, and they garner a laugh every single time. Their comical expressions and louder-than-words body language provide hilarious insight into their true feelings. This is particularly evident when the Narrator, snappily portrayed by a strong-voice, oft-exasperated Gutekunst, passes down his judgments.

A few other standouts include Christian Heath’s oh-so-amusing Rapunzel, the mostly-silent-but-still-effective Molly Damar as the lovely Little Mermaid, and the precious Julianna Laughinghouse as the Little Girl who starts the story. And, of course, one can’t forget the OFG herself. Dressed like “Weird Barbie” and with a charmingly rebellious bent to her performance, Tseng adds a healthy dose of reality and possibility to this surprisingly astute story.

Once Upon a One More Time is more than just a playful romp. Yes, it’s silly, but it’s also multi-layered and wise—a thoughtful fairytale for the modern age. And, more than that, seeing these young performers pull off such a feat is a kind of fairytale in itself, the kind that proves dreams do come true. With some help from their “fairy godmothers,” these young people deliver a fully fleshed-out musical experience. This does not feel like a youth production. Instead, it feels like an adult performance that just happens to have a young cast. Theatre Raleigh ACT has pulled out all the stops to create a show that will leave you “happily ever after.”


Once Upon a One More Time runs through August 1st, and tickets are available here.

-Susie Potter