The staged is framed with portraits of pretty heroines of Disney movies, TV and theme park attractions. In Disney’s kingdoms, the gals usually are distressed, helpless. They have the job of looking cute while sighing for their prince (or similar guy) to come save them. Typically, they get to wed the royals and live happily ever after.
But the Disenchanted princesses who’re coming out with the truth about themselves (et al.) don’t look like their pictures. Jenn Baker’s Snow White is squat, sarcastic and dark. Mari Bryan’s Cinderella is curveless and plain. Alyssa Goudy’s Sleeping Beauty is fat and sassy. Yet these headliners are all plainly sexual creatures and pluckily singing out, like rock and pop stars, that they’ll determine their own destinies.
Guest stars are disgruntled like Belle (no-nonsense Diane Dawson), who finds cleaning up after her slob of a husband “Insane” -- especially amid whirling household furnishings. Mulan (strong Jenn Abreu) could well do “Without the Guy” if, as she thinks, she may be a lesbian. Aileen Suseck is a stitch complaining about her “Crazy Hair” as Pochahantas.
The princesses bring frog puppets to be a chorus for Hilary Kraus’ intent Little Mermaid, who isn’t very petite, especially coming out with “Two Legs.” Helen Holliday’s Brunhilde-like Rapunzel insists on using her non-American accent to moan about getting “Not V-One Red Cent.” The rebellion is almost over before a black damsel “Finally” gets onstage. Ariel Blue as that nifty Frog Princess really belts out her pleasure at that.
If there’s one star among the gals, though, it’s Roberta MacDonald, ironically as a disgusted, graceless “Secondary Princess.” In long tee shirts with hilarious designs denoting the characters she plays, she’s unflappable. She goes from a minor royal of 1001 Nights to a wretched Esmeralda to “the only broad in Never-Never Land” where the boys have all the fun.
Still, fun is what everyone seems to be having this “Once Upon a Time” following director-choreographer Kyle Ennis Turoff’s rapid pacing. David Walker’s outlandish costumes give added punch to the show’s satire. Michael Sebastian, back to his keyboard as musical director after a considerable amount of time away from the Apple, hasn’t lost a bit of his ability to provide perfect backing for all vocals.
