Like Jane Eyre, this is a pretty blatant attempt to copy the formula of The Secret Garden. The main difference is in the score; in contrast to the Mozartian art-song scores of Secret Garden and Jane Eyre, this show tries to go the pop theater route. The result sounds like a less tuneful version of a Frank Wildhorn score, and is about as inappropriate for the beautifully old-fashioned source material as you could possibly manage. The result wouldn’t have worked even if this has been a good pop score, which it patently is not. This show opens with one of the worst opening numbers of the decade, as Sutton Foster manically acts out all the parts in a bad cliché melodrama. There are a few decently sprightly group numbers (“Our Finest Dreams”, “I’d Be Delighted”, “Five Forever”), but even these comparative highlights are fairly forgettable, and the rest of the score is mostly dull pop ballads. Of these ballads, only “Some Things Are Meant to Be” provokes a real emotional response…the others, even the overwrought “Days of Plenty”, are pretty empty. The already inappropriate pop sound of the score is compounded with several attempts to directly invoke recent Broadway hits, from a cliché nervous love song that is actually called “Take a Chance On Me”, to a blatant ripoff of “Defying Gravity” called “Astonishing”. There were reportedly other problems with the show, but its failure to musicalize the story properly ended up being its defining characteristic. It tells you something that even Sutton Foster couldn’t keep this show open; of all her largely unworthy vehicles in this decade, this was the only one to unequivocally bomb.