Review: ONCE UPON A ONE MORE TIME at Theatre Raleigh ACT

Once Upon a One More Time takes the familiar fairy tale princesses we all know and drops them into a jukebox musical featuring the music of Britney Spears. It’s a playful, high-energy premise that could easily become little more than an excuse to string together pop songs. Instead, Theatre Raleigh ACT transforms it into something genuinely exhilarating through an extraordinary group of young performers whose commitment never wavers.

Something that is immediately clear is the abundance of talent onstage. The caliber of these performers is genuinely remarkable, and it’s impossible not to leave feeling that the future of musical theatre is in very good hands. Every time I attend a Theatre Raleigh ACT production, I’m amazed by the professionalism and sheer talent these young artists bring, and Once Upon a One More Time raises the bar once again (or shall we say "one more time"). More impressive than any individual performance, however, is the collective energy they create together. From the opening number through the final curtain, the enthusiasm onstage is completely infectious, spilling into the audience in a way that makes the entire theatre feel electric. The opening performance of “... Baby One More Time” wastes no time announcing exactly what kind of show you’re in for, immediately earning cheers from the audience and setting the tone for everything to follow.

Tim Malboeuf’s choreography, alongside associate choreographer Pilar Manson and assistant choreographer Allie Sharpe, is the driving force behind nearly every moment of the production. Paired with skillful direction by Blaire Thompson and associate director Carolyne Sandoval, along with Darby Madewell’s colorful lighting design (complete with a glittering disco ball), the production often feels less like a traditional musical and more like a full-fledged pop concert. Audience members weren’t content to simply applaud at the end of songs. They whooped after soaring vocal runs, erupted after intricate dance breaks, and celebrated the performers throughout the evening. That kind of response can’t be manufactured - it comes from a cast that consistently and rightfully earns it.

Even more impressive is the endurance of the ensemble. These performers spend more than two hours dancing at an incredibly demanding pace without sacrificing their vocals. Time and time again, I found myself amazed that through all of the exhausting dance sequences, they still provided powerhouse vocal performances without missing a beat. The choreography never feels like something they survive; it becomes another way they tell the story. Each move is a delight to witness, and when the full ensemble came together in harmony, the sound was truly breathtaking.

Just as impressive is the cast’s complete commitment to the world they’ve created. This is a story filled with fairy tale princesses, magic, and pop anthems, yet not once does anyone treat it like a joke. Every performer fully embraces the heightened reality of the production, allowing these familiar characters to feel sincere even amidst the absurdity. That honesty is what makes the comedy land and gives the show’s heartfelt moments surprising emotional weight.

Madeline Campbell is a wonderful leading lady as Cinderella, balancing poise,, determination, and effortless charisma. Her vocals are consistently impressive, she carries the weight of the show with grace, and in what marks her final production with Theatre Raleigh ACT, she proves herself to be a true triple threat whose presence will undoubtedly be missed.

Among the supporting cast, Asali Smith and Myriam Azcona are scene-stealers as the evil Stepsisters, Belinda and Betany. Their comic timing is impeccable, and they inject every scene with boundless personality, becoming two of the show’s most entertaining performers. Kael Alley is hilarious as Prince Charming, with his multiple renditions of “Oops… I Did it Again” providing some of the biggest laughs. The haunting interpretation of “Toxic” from Greta Spagnardi as the evil Stepmother was a personal highlight for me - taking one of Britney Spears’ biggest hits in an unexpectedly dark direction, creating one of the show’s most memorable sequences and a welcome tonal shift amid the nonstop exuberance.

The biggest revelation, however, is Ariana Ayala as Snow White in her TRACT debut. It’s hard to believe she is only fourteen years old. Her voice is astonishingly powerful and remarkably polished, culminating in a show-stopping rendition of “From the Bottom of My Broken Heart” that brought the house down. Just as impressive, though, is the sincerity she brings to Snow White. What could easily become a one-note joke about a character who isn’t particularly bright instead becomes genuinely endearing thanks to Ayala’s natural performance and undeniable warmth. You can’t help but root for her. Reading in her bio that she has dreamed of performing on Broadway since she was young, it’s difficult not to believe she’s well on her way. I have no doubt we’ll be seeing much more of her.

I walked into Once Upon a One More Time unsure of what to expect. Jukebox musicals typically aren’t my favorite, but any reservations quickly disappeared. Yes, it’s fun hearing Britney Spears’ catalog reimagined in a fairy tale setting. Yes, it’s hard not to bop along in your seat to songs you’ve known for decades. But what I’ll remember most isn’t the music - it’s the overwhelming sense of talent and joy radiating from the stage.

Theatre Raleigh ACT continues to produce young performers who already display the professionalism, confidence, and artistry of seasoned professionals. More importantly, they remind us why live theatre is so exciting. When performers commit this fully, the audience can’t help but match their enthusiasm. By the end of the evening, the energy flowing between the stage and the audience had become its own performance, turning Once Upon a One More Time into far more than a jukebox musical. It’s pure fun. But it’s more than that. It’s a celebration - of music, storytelling, and most importantly a remarkable group of young artists whose futures look incredibly bright.

Performances run through August 1st. Tickets here.

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