NEW YORK—Sutton Foster does a dazzling turn in the Broadway revival of the 1959 musical comedy “Once Upon a Mattress.” Featuring a book by Jay Thompson, Marshall Barer, and Dean Fuller, music by Mary Rodgers, and lyrics by Barer, it uses the Hans Christian Andersen fairy tale “The Princess and the Pea” as a starting point.
Adapted by Amy Sherman-Palladino, the show presents a hilarious take on the fish out of water premise—with knights, a castle and a royal curse thrown in for good measure. This production was first seen as part of the Encores! series at New York City Center last season. Foster and several of the cast recreate their roles here.
A Legendary Beginning
It’s 1428 and Prince Dauntless (Michael Urie), heir to the throne of a medieval kingdom, is seeking a wife. However, by royal decree, none may marry before the Prince does, which has caused great uneasiness among the people. While there are no shortages of eligible princesses, all have failed a “royalty” test set by Dauntless’s mother, Queen Aggravain (Ana Gasteyer).Aggravain currently rules in place of her stricken husband, King Sextimus the Silent (David Patrick Kelly), who was struck mute by a witch’s curse. The Queen is determined for Dauntless to never marry. Once wed, he would become the rightful ruler, and she would have to give up the throne.
The court Wizard (Brooks Ashmanskas) helps the Queen in her efforts. Observing all with a carefully nuanced eye is the Jester (Daniel Breaker), who narrates the show. He separates fact from fiction regarding what really happens in this story.
After each princess is turned away, Lady Larken (Nikki Renée Daniels) feels a growing desperation. Larken, who has long been in love with Sir Harry (Will Chase), a recently named Chivalric Knight of the Herald, is pregnant with his child and wants to be wed before the advent of their new arrival.
Determined to save the day, Sir Harry embarks on a quest to find a princess Prince Dauntless can marry. But the woman he brings back, Princess Winnifred (Foster)—“Fred” to her friends—is, at first glance, not what one would call royal material. Fred comes from the Marshlands, where the most exciting thing is watching mosquito larvae hatch; showering once a year is the norm, and houses with roofs, not to mention soap, are almost non-existent.
Making one of the greatest entrances in theatrical history, Winnifred’s unkempt appearance and enthusiastic attitude stuns the court, horrifies the Queen, and delights Prince Dauntless. So eager is Fred to meet the Prince that she swims the moat and climbs the castle wall rather than wait for the drawbridge to be lowered. Of course, there’s still the matter of the Queen’s test.
Convincing, Family-Friendly Fun
A delightful romp, “Once Upon a Mattress” shows how first impressions can be deceiving and that an answer to a problem can be right in front of you the whole time. While true love may indeed conquer all, it can sometimes use a little help.Foster is nothing less than brilliant as Winnifred, who calls to mind an irrepressible soul. The actress also proves to be an expert in comedic timing—verbal and physical—and has excellent chemistry with Urie. Their characters go from happily awkward to kindred spirits as their relationship develops.
Urie is appealing as Prince Dauntless, the person who changes the most during the story, but only after he finds someone worth fighting for. He also gets in a few laughs of his own—especially when trying to climb stairs.
Daniels and Chase make a nice couple as Lady Larken and Sir Harry. Chase is particularly funny as a spur-obsessed knight with not much upstairs. Breaker is nicely droll as the helpful Jester, who always seems to know more than he lets on and isn’t above a bit of necessary chicanery. Gasteyer does well as the overbearing Queen, while Kelly gets in some good moments as the silent King, especially when he tries to non-verbally explain the facts of life to Dauntless.
The score, while not particularly memorable, completely fits the story. Among the highlights are “Shy,” which Foster belts out, showing Fred to be anything but; “In a Little While,” a happy duet between Larken and Harry regarding their upcoming bundle of joy; and the somewhat wistful “Very Soft Shoes,” where the Jester recalls a memory of his father.
Director Lear deBessonet allows the cast members to play their roles to the hilt, but never so over the top as to be annoying. Andrea Hood’s costumes are eye-catching, especially the outfits worn by the Jester and the court members. The garments’ hues in the latter case offer a tableau of color.
