Once, a musical that defied expectations and charmed audiences, is a testament to the power of simplicity and authenticity in storytelling. When it first graced the Broadway stage in 2012, it was an instant hit, but not for the reasons one might expect.
In a world dominated by flashy, spectacle-filled musicals, Once stood out as a breath of fresh air. It was an anti-musical, a stripped-down, intimate production that embraced the raw and the real. With a simple barroom set, scuffed mirrors, and wooden panelling, it created an atmosphere that was both folksy and melancholy.
The show's unique charm lay in its ability to resist the typical musical tropes. The songs, written by Glen Hansard and Markéta Irglová, were not your typical showstoppers. They were bittersweet, often maudlin, and they told a story of love, disillusionment, and the struggle to find one's place in the world. The movement sequences, choreographed by Steven Hoggett, were angular and grounded, reflecting the physicality of the characters rather than the high-energy spirit of other musicals.
This reluctance to conform made Once a low-key pleasure. It welcomed audiences in with its pleasing slickness and economy of means. The music, arranged by Martin Lowe, was rhythmically complex yet sensitively delivered, with acoustic songs bubbling up organically. The production had a confidence that was both silent and stately, allowing the story to unfold without the need for grand theatrics.
However, the story itself was a bit short on grand passion. The lovelorn busker, played by Dylan Wood, and the brusque young woman from the Czech Republic, Lydia White, found each other at a romantic crossroads. Their relationship was a minor change of fortune, and the bittersweet ending felt more like relief than elation. The mood was consistently morose, and the autumnal tone seemed fitting for a summer season, providing a refreshing contrast to the typical summer blockbuster musicals.
What makes Once truly fascinating is its ability to defy conventions and embrace authenticity. It challenges the notion that musicals must be grand and spectacle-filled, proving that a simple, intimate production can be just as captivating. The show's success lies in its willingness to be different, to resist the razzmatazz, and to tell a story that is both relatable and unique. It is a reminder that sometimes, less is more, and that the most powerful stories can be found in the most unexpected places.
