The image shows a man dressed in a light blue medieval outfit and a woman wearing a yellow dress dancing on a stage, with other actors surrounding them. Michael Urie, playing the role of Prince Dauntless, stands at the center left while Sutton Foster portrays Princess Winnifred in the family-friendly musical “Once Upon a Mattress” at the Hudson Theater.
The characters Princess Winnifred and Prince Dauntless are known for their playful and silly nature. Typically, in musicals, they would serve as a source of comedic relief from the main plot. However, in “Once Upon a Mattress,” these lighthearted individuals are actually the ones in charge, both literally and symbolically.
Even more so, considering that Sutton Foster and Michael Urie deliver symbiotic performances as Winnifred and Dauntless, respectively, which are carefully executed yet give off a spontaneous aura.
It is refreshing to witness actors who are fully committed to entertaining their audience, with most of the cast following suit. This unapologetic delight in showcasing their talents seems to be highly sought after, as evidenced by the recent triumphs of “Oh, Mary!” and “Cats: The Jellicle Ball.”
The 1959 play, “Once Upon a Mattress,” suitable for all ages, was first shown as part of the Encores! series, which features rarely performed productions. In January, the show was presented and received positive reviews. Recently, the production has moved to the Hudson Theater on Broadway with some revisions to the supporting actors.
Similar to numerous shows featured in Encores!, “Once Upon a Mattress” by Mary Rodgers and Marshall Barer, a retelling of Hans Christian Andersen’s “The Princess and the Pea”, would likely face difficulties in making it onto anyone’s top 10 list of the greatest musicals, except for tweens.
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Similar to many other works, “Once Upon a Mattress” proves to be quite resilient when handled by the right people. The music by Rodgers is lively and the lyrics by Barer cleverly use wordplay to add to the enjoyment (“I am missing a lady; oh no! How unfortunate!”). Equally significant, the collaboration between Barer, Jay Thompson and Dean Fuller in writing the script allows for talented comedic actors to showcase their skills – it is not a coincidence that Carol Burnett originated the character of Winnifred.
A production image shows a lady in pink pajamas sitting on a stack of 20 mattresses. In the musical, talented comedic performers, such as Foster, are given the opportunity to showcase their skills, particularly in the “sensitivity test” scene which features a pile of 20 mattresses.
The setting of the show takes place in a comical kingdom with a medieval feel, where marriage is prohibited until Dauntless gives his consent. However, Queen Aggravain (played by Ana Gasteyer, struggling to bring humor to her character’s sternness) is content with being in control and devises exceedingly difficult tasks for potential brides. When Lady Larken (played by the returning Nikki Renee Daniels) discovers she is expecting a child, she and her partner, Sir Harry (played by Will Chase, known for his reliable portrayal of conceited characters), suddenly feel the urgency to make their relationship official. Amidst the chaos, a moment of respite occurs when the couple serenades each other with the beautiful duets “In a Little While” and “Yesterday I Loved You.”
Despite his good looks, Harry, who is not very bright, manages to find a potential spouse for Dauntless in the feisty and rough Winnifred, who prefers to go by Fred. Aggravain and her advisor, the wonderfully over-the-top Brooks Ashmanskas, come up with a “test of sensitivity” for her, which involves a pea and a stack of twenty mattresses, adding to their impressive repertoire of theatrical tricks.
Under the guidance of Lear deBessonet, the show moves forward at a rapid pace. deBessonet has a knack for staging musicals that put a twist on classic fairy tales, as seen in her recent Broadway revival of “Into the Woods.” Amy Sherman-Palladino, known for her creation “The Marvelous Mrs. Maisel,” has subtly enhanced the original book, with Fred reaping the benefits of the new additions. Foster, who previously starred in Sherman-Palladino’s show “Bunheads,” effortlessly handles the writer’s fast-paced and free-flowing style. She also shines in her musical numbers, including “Shy,” “The Swamps of Home,” and “Happily Ever After,” and fully commits to the physical comedy throughout the show.
There is a particular sense of fulfillment in encountering an awkward and eccentric princess, who does not fit into the traditional roles of a helpless damsel in distress or a fearless and competent Disney protagonist. Fred exudes a carefree attitude, happily removing leeches from her body after swimming in the castle’s moat, and completely oblivious to societal norms and expectations based on gender or authority.
The show has some minor issues, such as a rigid jester (played by Daniel Breaker) who comes across more as a head servant, but these are overshadowed when the two main actors are on stage together – especially when they are in perfect harmony. Urie’s mastery of both physical and verbal demands has improved since the Encores! performance. He expertly blends the two in “Man to Man Talk,” a duet between Dauntless and his father, King Septimus (played by David Patrick Kelly) that involves singing and pantomiming.
Although Dauntless did not initially seem to be overly particular, he is naturally drawn to the eccentric new arrival. In return, Fred is unbothered by the prince’s own quirks.
The musical manages to avoid appearing juvenile by cleverly addressing the hidden motives behind Dauntless and Fred’s enthusiastic innocence. Looking forward to the excitement of becoming a bride, the princess enumerates the advantages, such as receiving new socks and being able to partake in gymnastics. She then reflects, “You also gain a companion. Someone who finds you amusing and affectionately calls you by a nickname. And you get to explore new places, doing everything together, which makes the annual showers much more enjoyable.”
Urie and Foster are a couple who give off the impression that a joyful future filled with a variety of physical exercises is possible.
Once Upon a Mattress
From now until November 30th, you can catch “Once Upon a Mattress” at the Hudson Theater in Manhattan. For more information, visit thehudsonbroadway.com. The show has a running time of 2 hours and 15 minutes.