Once Upon a Mattress
By now, the hit Encores! production of Once Upon a Mattress that transferred to Broadway last month has settled in. With well-paced, seamless abandon, the leads are making the most of the fun and frolic in Amy Sherman Pallidino’s adaptation. Now in its second revival, the two-hour-15-minute show boasts music by Mary Rodgers, lyrics by Marshall Barer and book by Jay Thompson, Marshall Barer and Dean Fuller. Palladino’s tweaks and ironic updates about the princess who has to pass a sensitivity test to verify her princess status runs at the Hudson Theatre until November 30.
The musical, cleverly directed by Lear deBessonet with assistance from Skylar Fox’s physical comedy and effects, presents maximum kinetic hijinx and farcical tomfoolery. The triumvirate of comedy principals, Michael Urie’s Prince Dauntless, Sutton Foster’s Princess Winnifred, and Ana Gasteyer’s haranguing Queen Aggravain collaborate joyously to play off one another. Stoking the flames of riot and providing loaded bases for this multi-home-run hit, Brooks Ashmanskas’ Wizard, David Patrick Kelly’s King Sextimus the Silent, and Daniel Breaker’s Jester round out the laughs.
Once Upon a Mattress is a family show
Congenially billed as fare for the entire family, the show glides into jokes and shtick. Breaker’s Jester (“Many Moons Ago”) introduces the characters and backstory. Then he segues with the company to the heart of the adventurous question (“Opening for a Princess”). Will Prince Dauntless overcome his mother Queen Aggravain’s possessiveness and win a bride she approves of? Will the candidate unlike 12 others before her pass the princess test? Or will the innocent, sweet Dauntless remain single to live with Mamá and philandering, mute Papá until they all drop dead?
The Jester assures us the implausible fairy tale of the “Princess and the Pea” unfolds generally as we’ve heard it in our cradles. However, this version has some cracks allowing different flowers and swamp-grasses to break through. The twists and turns pop up when least expected.
Lovers’ Subplot
Meanwhile, in the subplot, lovely-voiced Nikki Renee Daniels’ Lady Larken discovers her blossoming pregnancy. The father, Will Chase’s dim-witted Sir Harry, distracted by his new spurs, gradually “gets” her plight (“In a Little While”). What’s a gal to do but get married before her baby bump shows, so as to not create a scandal?
However, before Lady Larken and Sir Harry can marry, Dauntless must find his bride. This thorny problem grows pricklier because Gasteyer’s Queen creates impossible tests for the candidates to pass. Assuredly, she has more tests up her sleeve to fail every viable princess in fairytale-land. Why? Because only she can rule. Also, as Gasteyer brilliantly portrays the Queen with every forceful, nuanced breath, Mamá loves hearing her voice. Perhaps that explains how Papá King Sextimus’s throat closed in silence via a curse. Who cursed him and how can the curse be broken?
Queen Mamá’s obvious intentions to be sole ruler have even been noted by her naive, obedient son. Urie’s Dauntless questions whether Mamá even wants him to marry at all. As the clock ticks down to humiliating exposure, Prince Harry scours the kingdom for a princess. Finally, he locates bumbling, gender-bending Winnifred. Un-princess-like, adorned with long matted hair, swamp vegetation mingled with her ratty dress and covered in leeches because she lives in a bog, Winnifred emerges. Astoundingly, she athletically swam the moat around the castle.
Foster’s Princess Refreshes with Undemure Appearance
With pluck and refreshing versatility, Foster organically evokes the awkward, energetically physical (“Shy”) Winnifred. As she lights up the stage, Urie responds with companionable, humorously naive and endearing bonding. Too soon won, complications must arise in the plot. The self-important and imperious Queen conspires with Ashmanskas’ smarmy, “over-the-top” Wizard. Together they create a test the Winnifred swamp creature can never pass (“Sensitivity”).
However, Dauntless grows fond of Winnifred, who explains why she prefers it at the castle (“The Swamps of Home”). Additionally, we learn that when the “mouse devours the hawk,” King Sextimus the Silent’s voice will return to him. Meanwhile, the Jester insists that through pantomime the King must give “the talk” to Dauntless. Palladino’s quirky adjustments make sense and add interest which the actors convey with vibrancy to move along the story in song (“Normandy,” Spanish Panic” and “Songs of Love”). With aplomb and abandon, Urie’s Dauntless has fallen for “Fred” (Winnifred’s nickname). In the rollicking last number before the curtain falls on Act I, we wonder how he can make his love come true. Gasteyer’s domineering, “fronting” Mamá has presented a daunting task for Urie’s disarming, sweet Dauntless. Surely, he will fail without help.
Help Arrives
The help does arrive in Act II, and none too soon. Foster’s Princess with riotous antics tries to fall asleep with the help of a potion which can’t work because of Sir Harry and others’ actions. Finally, Dauntless stands up to the Queen. With his newfound love and courage, he says two words which break the curse on his father’s silence. Indeed, “the mouse devours the hawk.” And Dauntless steps into his role of King, with the cherished Princess Winnifred at his side, as his mother and father go into retirement. All’s well that ends well, after the chief obstacle (Mamá) has been leaped over.
The tuneful music supervised by Mary-Mitchell Campbell and conducted by Annbritt duChateau has memorable moments, in a traditional Broadway mode. The Once Upon a Mattress ensemble is superb throughout. The choreography by Lorin Latarro illuminates the physical energy of the company and contributes to the exuberance and fun. David Zinn’s flat, two-dimensional, cartoon-like scenic design and Andrea Hood’s lovely Medieval-styled, period-appropriate costume design both add a delectable flavor to the confection. Indeed, the creative designers help set the lighthearted tone and atmosphere, manifesting deBessonet’s winning vision. These include Justin Townsend’s lighting design, Kai Harada’s sound design, J. Jared Janas’ hair, wig and makeup design and Bruce Coughlin’s orchestrations.
Once Upon a Mattress at the Hudson Theatre runs through November 30.
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