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‘Once Upon a Mattress’ Review: Sutton Foster as a Perfectly Goofy Princess

The Encores! series returns with a concert staging of the 1959 musical, which also stars the very funny Harriet Harris and Michael Urie.

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By Elisabeth Vincentelli

Some casting choices are blindingly obvious. That does not make them lazy; it makes them right.

Such is the case with Sutton Foster as the eccentric Princess Winnifred in the Encores! revival of “Once Upon a Mattress ,” which opened Wednesday at City Center. The central role in this broadly goofy musical was exuberantly, indelibly originated by Carol Burnett in 1959.

While Foster has displayed range over the course of her musical-theater career — she’s stepping into Mrs. Lovett’s kitchen in “Sweeney Todd” on Feb. 9, five days after completing this show’s two-week run — many of Foster’s best roles, like Janet Van De Graaff in “The Drowsy Chaperone” and Reno Sweeney in “Anything Goes,” are imprinted with an ebullient, joyful relish in the very act of performance. And Winnifred, described by another character as “a strangely energetic swamp girl,” is an ideal outlet for that sensibility.

“Once Upon a Mattress” is nobody’s idea of a great musical, but it is many people’s idea of a fun one. Based on the fairy tale “The Princess and the Pea,” this vaudevillian lark — which The New York Times described, possibly not in a good way, as “a child’s introduction to Broadway” in a review of a 1964 CBS telecast — is celebrated for helping to kick-start Burnett’s career and for being the composer Mary Rodgers’s sole Broadway hit.

That last clearly represents a loss: Rodgers, paired with the lyricist Marshall Barer, demonstrates startling ease with musical-theater idioms and the late-1950s vernacular. (Winnifred’s “The Swamps of Home” works as both an earnest ballad and a sly spoof of the goopy nostalgic yearnings of some numbers by Richard Rodgers, Mary’s father, and Oscar Hammerstein II.)

Naturally, Foster makes a banquet of the material, from Winnifred’s entrance, covered in leeches, to her bravura numbers, “Shy” and “Happily Ever After.” The first, in which the princess trumpets that “way deep down I’m demure,” is a clear predecessor of “Show Off” from “The Drowsy Chaperone,” in which Janet claimed, “I don’t want to show off no more” while doing exactly that. (The leeches, by the way, and other bits of stage whimsy and effects, are by Skylar Fox.)

Foster’s glee in taking possession of the stage creates an all-encompassing manic energy that both the audience and her scene partners feed off. Prime among them are the archly imperial Harriet Harris (Foster’s co-star in “Thoroughly Modern Millie”) as Queen Aggravain and Michael Urie as her son, the bumbling Prince Dauntless — not the sharpest halberd in the castle, but still smart enough to become endearingly smitten with a shaggy princess who goes by Fred.

This pair are just as obvious for their roles as Foster is, and also exactly right — the three of them chew the scenery with an infectious gusto that reminds us that they are big; it’s the musicals that got small. Harris can wring laughs with just her hands flying about in an Expressionist ballet, while Urie throws himself into idiosyncratic line readings and physical comedy — at one point, he rolls up and down the tiers of David Zinn’s set when he could have easily clambered.

The supporting cast is stuffed to the gills with game talent, including the recent Tony Award winner J. Harrison Ghee as the narrating jester. But let’s single out the presence of Cheyenne Jackson, too rare on our stages, as Sir Harry.

Of course, creating obstacles out of thin air is par for the fairy-tale course, and in order to marry Dauntless, Fred must prove she is worthy of him by spending a night on 20 piled-up mattresses under which Aggravain has had a small pea inserted. In other words, she must pass a “sensitivity test,” an expression whose new meaning Amy Sherman-Palladino, credited here with the concert adaptation, wisely refrains from riffing on.

Sherman-Palladino, creator of “The Marvelous Mrs. Maisel,” has a fruitful association with Foster, who starred in her series “Bunheads,” and she has spruced up this story — by Jay Thompson, Dean Fuller and Barer — while maintaining its structural integrity. A new recurring joke, for example, involves Harry speaking of having a boy while his pregnant beloved, Lady Larken (Nikki Renée Daniels), always adds, “or a daughter.”

Admittedly, Lear deBessonet’s production is not always as crisp and fast as it needs to be. The ensemble remains glaringly slack while Foster exerts herself in “Shy,” for example. Similarly, the orchestra, conducted by the music director, Mary-Mitchell Campbell, and Lorin Latarro’s choreography could use a lot more swinging oomph. But if comedy is tragedy plus time, good comedy is comedy plus time — and Encores! shows get only about 10 days of rehearsal. I have a strong suspicion this production will get better and better, and sadly will have to stop just when it hits its peak.

Once Upon a Mattress Through Feb. 4 at New York City Center, Manhattan; nycitycenter.org . Running time 2 hours 15 minutes.

• Cast & crew
• User reviews

Once Upon a Mattress

• Episode aired Dec 18, 2005

In this hilarious tweaking of the fairy tale, "The Princess and the Pea", Queen Aggravain has ruled that none may marry until her son, Prince Dauntless marries. However, she has managed to s... Read all In this hilarious tweaking of the fairy tale, "The Princess and the Pea", Queen Aggravain has ruled that none may marry until her son, Prince Dauntless marries. However, she has managed to sabotage every princess that come along. When Sir Harry and Lady Larken learn that they are... Read all In this hilarious tweaking of the fairy tale, "The Princess and the Pea", Queen Aggravain has ruled that none may marry until her son, Prince Dauntless marries. However, she has managed to sabotage every princess that come along. When Sir Harry and Lady Larken learn that they are going to be parents, wed or not, he goes off to the swamps and brings back Princess Winni... Read all

• Kathleen Marshall
• Marshall Barer
• Dean Fuller
• Jay Thompson
• Carol Burnett
• Tracey Ullman
• Denis O'Hare
• 38 User reviews
• 10 Critic reviews
• 3 nominations total

• Queen Aggravain

• Princess Winnifred

• Prince Dauntless

• Lady Larken

• King Sextimus

• Princess #12

• Dancing Knight

• Court Small
• All cast & crew
• Production, box office & more at IMDbPro

Did you know

• Trivia Carol Burnett , who plays Queen Agravain in this version, played Princess Winifred in the original Off-Broadway production in 1959, which later moved to Broadway, and then to TV as Once Upon a Mattress (1964) . Burnett recreated the role in Once Upon a Mattress (1972) .
• Goofs During the Happily Ever After number, Princess Fred gets up on the table and kicks off the books stacked there but when we look down a few seconds later the stack she just kicked off on the right side of the table as we face it has returned.

Queen Aggravain : Goodbye, good luck, get out.

• Connections Remake of Once Upon a Mattress (1964)
• Soundtracks Here I Come to Save the Day Lyrics by Marshall Barer Sung by Matthew Morrison

User reviews 38

• Apr 21, 2006
• December 18, 2005 (United States)
• United States
• Official site
• Érase una vez un colchón
• Vancouver, British Columbia, Canada (Studio)
• ABC Home Video
• Mattress Productions Ltd.
• Touchstone Television
• See more company credits at IMDbPro

Technical specs

• Runtime 1 hour 30 minutes

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‘once upon a mattress’: theater review.

Jackie Hoffman and John Epperson, better known as "Lypsinka," star in this off-Broadway revival of Mary Rodgers' venerable musical based on 'The Princess and the Pea.'

By Frank Scheck

Frank Scheck

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The casting is the concept for the Transport Group Theatre Company’s revival of this old chestnut, which has been showcased in no less than three television productions since its 1959 off-Broadway premiere. Starring 55-year-old Jackie Hoffman as a not-so-young Princess Winnifred (the role that made a 26-year-old Carol Burnett famous), and a cross-dressing John “ Lypsinka ” Epperson as Queen Aggravain , this is a decidedly edgier and campier Once Upon a Mattress than usual.

There’s a definite “Let’s put on a show” quality to this modest production, presented at the historic Abrons Art Center on Manhattan’s Lower East Side. The costumes are threadbare, although Epperson models a few enjoyably outlandish creations. The sets are almost nonexistent, with a video screen displaying a giant close-up of a hand drawing scenic backdrops live during the performance, a device that’s more distracting than charming. And the small stage can barely contain the surprisingly large ensemble.

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Release date: Jan 03, 2016

On the other hand, there’s a full, albeit overamplified , orchestra of 13 musicians, and the performers display an undeniably infectious enthusiasm.

Read More ‘The Color Purple’: Theater Review

Featuring music by the late Mary Rodgers (daughter of Richard), the show is an expanded adaptation of the Hans Christian Anderson fairy tale The Princess and the Pea . Set in a mythical 15th century kingdom, it concerns the search for a suitable princess for the hapless Prince Dauntless (played by the deliciously named Jason SweetTooth Williams). The matter is of pressing urgency to the lovely Lady Larken (Jessica Fontana), who is pregnant by Sir Harry (Zak Resnick ), the preeminent knight of the realm, but is unable to marry him because of the queen’s decree that no one in the kingdom is to marry until her son does.

Enter Winnifred , who, seeking to get a leg up on the competition, enters the kingdom looking like a drowned rat after swimming the moat. The ungainly princess is definitely not considered a suitable match for her son by the queen (but then again, no one is good enough for mommy’s little treasure). She sets out to sabotage this final candidate’s chances by wickedly devising a “sensitivity” test of Winnifred’s ability to sleep on a bed of 20 mattresses atop a tiny pea.

Observing the action is the mute King Sextimus (David Greenspan), who communicates through games of Charades; a Minstrel (Hunter Ryan Herdlicka ), who lightheartedly narrates; and the Minstrel’s sidekick, a Jester (Cory Lingner).

Read More ‘School of Rock’: Theater Review

It’s a thin, silly story to fuel a two-and-a-half hour musical, and the antic book by Jay Thompson, Dean Fuller and Marshall Barer features more than a few groan-worthy gags. The score, too, is unmemorable, with only Winnifred’s disingenuous comic number, “Shy,” making much of an impression. But assuming you’re in the right mood, the show is fun nonetheless, and this production, exuberantly directed by Jack Cummings III, is ultimately hard to resist.

Hoffman — a Broadway mainstay with such shows as On the Town , Hairspray , The Addams Family and Xanadu to her credit — is a deliciously daffy Winnifred. She uses her expert comic timing and nasal vocal delivery to make her character’s desperation hilariously palpable, while throwing in a few choice jokes obviously of her own creation. Epperson (essentially playing an audible version of the Hollywood diva archetypes he has long portrayed in his hit lip-synching shows) is a hoot, capable of bringing down the house with a single malevolent, Joan Crawford-style glare. (The strapping Epperson staring down at the diminutive Hoffman is a sight gag all by itself.)

The paunchy, bespectacled Williams (Hoffman also wears glasses) is an amusingly atypical prince; Herdlicka (seen on Broadway in A Little Night Music ) is a charming Minstrel; and LIngner, making his off-Broadway debut, fairly stops the show with his fabulous solo song-and-dance number, “Very Soft Shoes.”

This acerbically funny version of Once Upon a Mattress will probably be better enjoyed by adults than the younger audiences to whom the show is usually targeted. But that’s nothing to complain about in a holiday season when you can’t throw a rock without hitting a Rockette, an Elf or, more in the spirit of this production, a Grinch.   

Venue: Abrons Arts Center, New York Cast: Jackie Hoffman, John “Lypsinka” Epperson, Jessica Fontana, David Greenspan, Hunter Ryan Herdlicka, Cory Lingner, Zak Resnick, Jay Roges, Jason SweetTooth Wiliams Music: Mary Rodgers Lyrics: Marshall Barer Book: Jay Thompson, Dean Fuller, Marshall Barer Director: Jack Cummings III Set designer: Sandra Goldmark Costume designer: Kathryn Rohe Lighting designer: R. Lee Kennedy Sound designer: Walter Trarbach Musical staging & choreographer: Scott Rink Presented by Transport Group Theatre Company

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Once Upon a Mattress Reviews

Disney reboot has fun playing on fairy tale stereotypes.

Full Review | Original Score: 3/5 | May 16, 2020

I'd only recommend it if you feel you'd like fluffy made-for-TV musicals.

Full Review | Original Score: 3/5 | Feb 5, 2006

...ultimately overlong and forgettable, despite the best efforts of an exceedingly game cast.

Full Review | Original Score: 2/4 | Jan 30, 2006

pretty harmless and almost wholly unmemorable, but considerably better than a lot of animated junk that's passed off as kiddie fare.

Full Review | Original Score: 3/5 | Dec 11, 2005

Once Upon a Mattress

As pretty as a princess and bright as happily ever after, Gerald Gutierrez's revival of "Once Upon a Mattress" still can't quite turn a pumpkin into a coach. A pleasant though unexceptional musical comedy in 1959, "Mattress" is best remembered for helping introduce a young Carol Burnett to the world, it is not the grim fairy tale that rumor and pre-opening gossip items have described.

By Greg Evans

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As pretty as a princess and bright as happily ever after, Gerald Gutierrez’s revival of “Once Upon a Mattress” still can’t quite turn a pumpkin into a coach. A pleasant though unexceptional musical comedy in 1959 — and the description still holds — “Mattress” is best remembered for helping introduce a young Carol Burnett to the world, and while it won’t work similar magic for the miscast (however likable) Sarah Jessica Parker, it is not the grim fairy tale that rumor and pre-opening gossip items have described.

Staged in the visually vibrant, slightly cartoonish style of last season’s “A Funny Thing Happened on the Way to the Forum,” the new “Mattress” all too soon shows itself to be the lumpier of the two. A book that’s not quite sharp enough, lyrics that only occasionally rise to the level of wit in “Forum” and music that few will remember after a good night’s sleep, “Mattress” is grade-B stuffing even under the best of circumstances.

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And, alas and alack (as one character sings), this revival is hardly the best of circumstances. Gutierrez, who’s directed two of Broadway’s finest play revivals in as many seasons (“A Delicate Balance,” “The Heiress”) and memorably resurrected the Frank Loesser musical “The Most Happy Fella” in 1992, seems oddly constricted here. Much of the action is confined to one-third of the stage, the comedy doesn’t always generate the laughs it should and little is made of secondary characters that, truth be told, have little intrinsic value anyway. And that’s not to mention a second act that veers too long from both the princess character and her central storyline, the musical’s sole reason for being.

None of which is to say that the production lacks all charm, or that the musical itself is anything less than a sweet-tempered diversion. Audiences might not find the enchantment they’re seeking (neither will the box office), but few will leave the theater grumpier than when they came in.

Based on the Hans Christian Andersen story “The Princess and the Pea,” “Mattress” spins the tale of a medieval kingdom’s search for a proper princess to marry the hapless Prince Dauntless (David Aaron Baker). Everyone, from the knights and ladies who can’t wed until the Prince is married off, to the henpecked King Sextimus (Heath Lamberts), wants to see the lonely prince engaged. Everyone, that is, except the domineering Queen Aggravain (Mary Lou Rosato in the standout performance), more shrew than Disney villainess but unwilling to cut the royal apron strings nonetheless.

Enter Winnifred the Woebegone (Parker), princess of the far-off swampland Farfelot brought to the castle by Sir Harry (Lewis Cleale). Harry has no time to waste in seeing the Prince married, since his own lady in waiting (Jane Krakowski) is waiting for a little bundle of joy.

Making her entrance looking like a drowned rat — she swam the moat — Winnifred, or Fred to her friends, is altogether too common for the Queen’s taste. “Blood will tell,” spits the Queen, “and yours doesn’t tell quite enough.” The Prince, however, falls immediately in love.

But the Princess must first pass a test proving she’s the real deal: Unbeknownst to her, the Queen has placed the smallest pea in the kingdom under a tower of mattresses 20-high. Falling asleep atop the pile would prove that Winnifred isn’t delicate enough to be a true Princess.

To ensure the beauty falls asleep, the Queen throws an impromptu ball to dance the Princess into exhaustion — and, one suspects, to provide the musical with its big ensemble number. Choreographer Liza Gennaro has designed the “Spanish Panic” (a dance craze sweeping the kingdom) as a sort of jitterbug meets the Macarena, with flashes of the Charleston and rumba tossed in before the entire melange slides into a ’70s disco line. For a brief while, “Mattress” comes alive with an irreverence that is generally lacking elsewhere.

Unfortunately, the second act retreats from the high spirits. After the tired Princess is led to her bed, “Mattress” pads itself with side stories (and musical numbers) about the King and his son, the attempts of a Jester (David Hibbard) and Minstrel (Lawrence Clayton) to undermine the Queen’s plan, and the love story between Sir Harry and the pregnant Lady Larkin (“God knows I’m a Lady in Waiting,” she says).

When the moment everyone has been waiting for — Winnifred’s climb to the top of her bed — finally arrives late in Act II, “Mattress” has the potential to soar, or at least indulge in the broad physical comedy that would become Carol Burnett’s trademark. And while Parker gamely jostles and tosses and turns, her unsuccessful attempts at sleep lack the comic timing that neither she nor Gutierrez seem to possess. Since there’s no buildup to the bouncing, there’s no payoff, either.

Still, one can’t help rooting for the very congenial Parker. So amiable is the actress’s personality and so strenuous her endeavors at physical comedy that one wants to forgive her vocal limitations. But time and again, the numbers that should be showstoppers — “Shy,” “Happily Ever After” — fall short as Parker struggles for pitch and range and the vocal bravado that her boisterous character should exude. Nor is she helped (although the production is) by the fact that others in the cast far outshine her singing talent, including Baker as the Prince and Cleale and Krakowski as the tuner’s other lovestruck couple.

The fuzzy-headed, red-nosed Lamberts is fine as the compassionate King made mute by a curse (even if the character’s constant harassing of pretty girls is as dated comically as it is politically). Hibbard is very good as the Jester, giving the role more panache than the writers’ did. Best of all is Rosato as the icy, conniving Queen, diving headfirst into the musical’s juiciest role.

Rosato and the rest are helped immeasurably by Jane Greenwood’s brilliantly colorful fairy tale costumes, heavy on the silks, satins and velvets in what might be the most eye-popping medieval garb to hit a Broadway stage. John Lee Beatty’s sets of palace ballrooms and high-tower boudoirs are equally dazzling, although a fuller use of the stage might give the production an airier, less confined feel than it currently has. Still, Beatty must be responsible for the nicely hued stack of mattresses, and a hat box shaped like the conical headdresses worn by the ladies gets one of the biggest laughs of the show — an observation that may say more than intended about “Once Upon a Mattress.”

Broadhurst Theater; 1,143 seats; $75 top

• Production: A Dodger Prods. and Joop Van Den Ende revival of a musical in two acts, with book by Jay Thompson, Marshall Barer and Dean Fuller, music by Mary Rodgers and lyrics by Barer. Directed by Gerald Gutierrez.
• Crew: Choreography, Liza Gennaro; sets, John Lee Beatty; costumes, Jane Greenwood; lighting, Pat Collins; sound, Tom Morse; musical direction and vocal arrangements, Eric Stern; orchestrations, Bruce Coughlin; dance arrangements, Tom Fay; music coordinator, John Miller; wig and hair design, Paul Huntley; production manager, Peter Fulbright; executive producer, Dodger Management Group. Opened Dec. 19, 1996; Opened Dec. 19, 1996; reviewed Dec. 17. Running time: 2 hrs., 15 min. Musical numbers: "Many Moons Ago," "An Opening for a Princess," "In a Little While," "Shy," "The Minstrel, The Jester and I," "Sensitivity," "Swamps of Home," "Normandy," "Spanish Panic," "Song of Love," "Quiet," "Goodnight, Sweet Princess," "Happily Ever After," "Man to Man Talk," "Very Soft Shoes," "Yesterday I Love You," "Lullaby," Finale.
• Cast: Cast: Heath Lamberts (King Sextimus), Mary Lou Rosato (Queen Aggravain), David Aaron Baker (Prince Dauntless), Sarah Jessica Parker (Winnifred), Lewis Cleale (Sir Harry), Jane Krakowski (Lady Larken), David Hibbard (Jester), Tom Alan Robbins (Master Merton), Ann Brown (The Nightingale of Samarkand), Laura Bontrager (The Royal Cellist), Arte Phillips, Pascale Faye (The Royal Ballet), Lawrence Clayton (Minstrel), David Jennings, David Elder, Bob Walton, Nick Cokas, Stephen Reed, Sebastian LaCause, Jason Opsahl, Maria Calabrese, Thursday Farrar, Janet Metz, Tina Ou, Aixa M. Rosario Medina, Jennifer Smith.

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Review: Once Upon a Mattress- A New Take on an Old Classic

Based on Hans Christian Andersen’s The Princess and The Pea, Once Upon A Mattress is a very, very old show. So old in fact, that Carol Burnett (Miss Hannigan from the 1982 film) originated the role of Princess Winnifred back in 1959 (she also plays the role of Queen Aggravain in the 2005 movie). Don’t let the material’s age bother you, as Once Upon A Mattress proves to be a classic that is magnetic, full of silly laughs, and some outrageous numbers. With a book by Jay Thompson, Dean Fuller and Marshall Barer, ‘Mattress’ is full of witty, classic American humour and charm. Mary Rodgers music, accompanied by Marshall Barer’s lyrics, are just delightful. Though the show does have a few songs that hinder its flow and feel like filler.

aspiring princess, Princess no. 12 (Sweet Samaniego-Buchanan), go through the Queen’s challenges

( WATCH : Once Upon a Mattress’ Star-studded Cast Sings 12 Songs from the Musical!)

Upon entering the theater, one immediately notices the bars of blacklight sitting on the edge of the stage. This gives the impression that colourful glow-in-the-dark elements will be utilized in the show, and though they are, the end result is frankly underwhelming. The show starts with a group of school girls running around briefly onstage. One girl, dressed differently from the others, sits in the middle of the stage and pulls out a book as she begins to sing about the tale of The Princess and The Pea. This is when the black light comes into play, as cast members adorned all in black, carry around cardboard cutouts of various elements from the story. This could have been a very interesting and entertaining wait to start the show, but due to the brightness of the surrounding lights, the effect falls flat. Although it seems like the character of the girl is there only to introduce us to the story, she is present throughout the show, and even interacts with some characters. The character seems completely out of place, and the interactions with the rest of the characters come off as inorganic and even awkward at times. Oddly enough, the actress and character aren’t listed in the show’s program, and there’s no trace of the character to be found in the show’s decades-long history.

L-R: little girl, Steven Hotchkiss as the jester, Yanah Laurel as Lady Larken, Raymund Concepcion as the king

The villain here is neither a dark wizard nor an evil witch, but instead comes in the form of a soon to be mother-in-law: Queen Aggravain (Emeline Celis-Guinid), who will stop at nothing to make sure her dear son, Prince Dauntless (Niño Alejandro), remains single. When the story begins, a princess is being tested by the court, to see if she is eligible for the Prince. But this is not yet our princess; this is Princess No. 12 (Sweet Samaniego Buchanan), and she ultimately fails. This drives the people mad, as there is a law all throughout the land that states no one can marry until Dauntless is wed, and this creates conflict for two other characters: Lady Larken (Yanah Laurel) and Sir Harry (Hans Eckstein), who are expecting a child. Desperate to find a suitable bride for Dauntless, Sir Harry goes on a mission to the far corners of the kingdom. He eventually returns, but things don’t go as planned when Princess Winnifred (Carla Guevara-Laforteza) appears atop a parapet, having swum across the castle moat.

L-R: Onyl Torres (the wizard), Emeline Celis-Guinid (Queen Aggravain), Hans Eckstein (Sir Harry), Nino Alejandro (Prince Dauntless)

THE PERFORMANCES

Carla Guevara-Laforteza is a powerhouse as Princess Winnifred The Woebegone. From her very first number (Shy), it is clear that heaps of energy is required from actresses playing Winnifred, but Laforteza ups the ante with her incredible vocal chops and physicality, and sets the bar very high with her comedic timing.

Carla Guevara-Laforteza as Princess Winnifred

Emeline Celis-Guinid’s Queen Aggravain is deliciously nasty and hilarious at best, though her performance is a little inconsistent. While she has an incredible voice, her performance is held back by her accent, which flits from british to american south, and somewhere in between.

Emeline Celis-Guinid as Queen Aggravain

Yanah Laurel’s Larken and Hans Eckstein’s Harry are the show’s real lovers, and the pair’s chemistry is palpable, especially in the delightful number In A Little While.

Hans Eckstein (Sir Harry) and Yanah Laurel (Lady Larken)

The show tries to establish emotional connections with the characters of the Minstrel (Chino Veguillas) and the Jester (Steven Hotchkiss), who frequently mention their fathers. The Minstrel uses this to his advantage later on in the show, but all it does for the Jester is give him an excuse to break into a dance number (albeit a charming tap routine). The big twist is unfortunately rather anticlimactic, due to its execution. In this staging, we see the little girl sitting atop the mattresses, handing the weapons down to the Jester and Minstrel, but we don’t see that the weapons were hidden underneath the mattress. It is revealed through song that the Jester placed weapons underneath the mattresses, and those are what caused Winnifred so much discomfort.

Princess Winnifred atop the mattress

THE CREATIVES

The music arrangement by Pipo Cifra is lovely, though the show could certainly benefit from the use of live instruments. The set design is minimal, at least for a show that takes place in a medieval castle, but the designs are just the right amount of resplendent. Kayla Teodoro doubles as the show’s set designer as well as costume designer, and it is the costumes that truly stand out. From the Queen’s signature over-the-top outfits, to the Jester’s plush get-up, the costumes make the show a visual treat. Direction is very good, and despite the issues with some of the material and the questionable addition of the little girl character, Steven Conde has crafted an enjoyable show. Ultimately, Once Upon A Mattress has a few slow moments, but the toe-tapping tunes, all star cast and electrifying performance of Carla Guevara-Laforteza still make the show worth watching.

About the Author / Alphonzo Alegrado

[email protected]

Filmmaker and photographer by day, resident reviewer at Theater Fans Manila by night. Lover of storytelling in all its forms. View his personal work here .

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StarTribune

Review: outstanding lead finds a comfy perch in 'once upon a mattress'.

The musical "Once Upon a Mattress" takes you back in time — not to 1428, when it's set, but to the Golden Age of Broadway, when it was written.

Based on Hans Christian Andersen's "The Princess and the Pea," the show debuted in 1959, when some zippy songs, a script with a couple of dozen good jokes and a charismatic star guaranteed a long run. No one dies of complications of AIDS in "Mattress," or accidentally eats their loved one in a meat pie — one sign that a lot has changed since the simpler era when "Mattress" was created.

There's something pleasingly old-fashioned about the show, which spoofs its fairy tale origins and was even a little behind the times when it debuted. Composer Mary Rodgers' father, Richard, had been behind shows such as "Oklahoma," which fully integrated the book, songs and dance, but "Mattress" is in the retro style of musical, which pauses occasionally for a song that doesn't move the plot forward at all. Honestly, there isn't much plot to pause in this Old Log Theatre show.

Amanda Mai is aces as Winnifred, a brash princess summoned as a possible suitor for Prince Dauntless the Drab (Neal Beckman). Dauntless' mother, Queen Aggravain (Melanie Wehrmacher), doesn't think anyone is good enough for him so she devises impossible quizzes for potential suitors (shades of the tragic opera "Turandot" there, although no one gets murdered or even roughed up in "Mattress"). If Winnifred can detect the pea placed at the bottom of a stack of 20 mattresses on which she's trying to sleep, she wins Dauntless.

One question no one bothers to ask is why vibrant Winnifred wants to marry a guy whose named includes the word "drab," especially since Beckman's amusing, committed performance is so childlike that there's a creepy note to his pairing with assured Mai. It's tough to imagine any mattress action with this prince but Mai makes her character so lively, bright and assertive that we assume Winnifred knows the right self-help book to mold her frog — er, prince — into a man.

One reason that works is that, oddly, "Mattress" cares more about its supporting characters than its leads. There are half a dozen terrific smaller parts, with courtiers Sir Harry (Jordan Oxborough) and Lady Larken (Sara Sawyer) to supply the love. In general, folks who are used to Stephen Sondheim or "Book of Mormon" may be surprised by how happy "Mattress" is to just be genial, low-stakes entertainment.

Other than a pretty pile of mattresses that leans into the show's '50s orange-and-turquoise palette, this is not a great looking production. And a few performances are too broad. But director Garry Lennon supplies "Mattress" with many inventive details — a nod to "Les Miserables" here, a between-acts snippet of the White Stripes-played-as-if-by-court-musicians there — to make the show, silly, tuneful fun.

'Once Upon a Mattress'

Who: Book by Marshall Barer, Dean Fuller and Jay Thompson. Music by Mary Rodgers. Directed by Garry Lennon.

When: 1 p.m. Thu., 7:30 p.m. Fri.-Sat., 2 p.m. Sun. Ends Jan. 7.

Where: Old Log, 5185 Meadville St., Excelsior.

Tickets: $30-$40, 952-474-5951 or oldlog.com .

Can 'Once Upon a Mattress' lead make audiences forget Carol Burnett?

Interim books editor Chris Hewitt previously worked at the Pioneer Press in St. Paul, where he wrote about movies and theater.

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Once Upon A Mattress

December 18, 2005

Comedy, Family, Fantasy, Musical

Queen Aggravain sabotages the efforts of every young princess who hopes to marry her son, Prince Dauntless -- and no one else can settle down until he does! Honorable Sir Harry is determined to marry the lovely Lady Larken, so he sets off for faraway lands and returns with an unlikely candidate: Princess Winnifred from the swamps.

Rated: PG Release Date: December 18, 2005

Directed By

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Reviews from Broadway and Beyond

Once Upon a Mattress: A Royal Success, at Encores

By Steven Suskin

★★★★☆ Sutton Foster, Michael Urie, Harriet Harris and more lead the cast in a happy revival of the Mary Rodgers—Marshall Barer musical

If it’s 2,000 beaming faces aglow with musical comedy pleasure you’re looking for, head over to City Center this week or next to catch Once Upon a Mattress . Several minutes and three songs in, a pair of bright young lovers launch into a gently upbeat ballad duet called “In a Little While,” and all’s right in the world—or at least for the two hours you’re at Encores’ latest.

We have already, by this point, gotten a strong promise of comedy tonight from the entrance antics of Michael Urie (as the dauntless Prince Dauntless) and Harriet Harris (as his aggravatingly vain mother, Queen Aggrivain). Then comes that love song from the dashingly chivalrous but not-so-bright Sir Harry (Cheyenne Jackson) and the lovely but slightly pregnant Lady Larken (Nikki Renée Daniels). The audience is primed and pumped for a star entrance when up out of the moat climbs Sutton Foster as the Amazonian (or is it Tarzanian?) princess from the swamps of home, Winnifred the Woebegone. “Call me by my nickname,” she says. “Winnie?” asks Prince Dauntless. No, she replies: “Fred.”

Once Upon a Mattress is a durable entry in the musical comedy catalog. While not in the first or second rank of musicals, it is a favorite among amateur groups due to the fairy tale provenance (this is “The Princess and the Pea,” after all), a goodly assortment of principal roles (everyone given a number in which to shine), and a score by composer Mary Rodgers and lyricist Marshall Barer that alternates between sunny and plain old funny.

[ Read David Finkle’s ★★★☆☆ review here. ]

While the musical is easy to do well, it is not easy to do brilliantly, alas and alack. The role of Winnifred needs a clown who can, in addition to performing the material, slay the audience with a lift of an eyebrow or the flash of a guilelessly innocent smile. The role was written for such a one, Nancy Walker (who never played it), and it made a superstar of the off-beat beginner chosen to star in the original production, Carol Burnett. Others have played it over the years, but none that I know of with any degree of Burnett’s success. (The Broadway production, upon Burnett’s departure, quickly collapsed; the two touring companies were costly failures; and the 1960 London company—starring young Jane Connell, imported for the occasion—shuttered in three weeks.)

Composer Rodgers, in those eyebrow-raising memoirs of hers (“Shy,” by Mary Rodgers and Jesse Green, conveniently on sale in the lobby), explains the problem with outspoken candor: “You need a real clown with a great voice, someone with a huge personality but immediately likable, and there aren’t many performers like that, as we unfortunately found out in the 1996 revival, when Sarah Jessica Parker got one of those four things right.” That revival was notable, alas and alack, in that none of the performers nor the director displayed anything approximating a sense of humor. Which is happily not the case here.

Foster, who has proved her mettle in any number of musical adventures since storming Broadway in the 2002 Thoroughly Modern Millie , turns out to perfectly fulfill Mary’s scorecard. A keenly intelligent performer, she makes it clear from her first low-comedy entrance that she is not interested in out-Burnetting Burnett, which even 65 years later is no easy task. Foster’s “Fred” is less starving for laughs than Carol’s (a performance preserved in two abridged television versions). Rather, Sutton gives us a guileless princess eager to be liked, capping every outlandish jape and sight-gag with a look of not-quite-convincing innocence as she slowly awaits the laughs to subside, occasionally wagging that mop-like wig they’ve put her in.

She is matched in the affair, every step of the way, by Urie. Watch him chase after his damsel, scaling the levels of the onstage platforms of the minimal set: he leaps, he falls, he battles with his princely tights while we battle to keep from falling out of our seats. Foster and Urie make a lovely pair; Daniels and Jackson make a lovely pair; and Harris, by herself, outdoes Snow White’s stepmother with a snarl.

There are other featured players on hand in Lear deBessonet’s production at Encores, namely J. Harrison Ghee (from Some Like It Hot ), Francis Jue (who supported Foster and Harris in Thoroughly Modern Millie ), and David Patrick Kelly (who played that Mysterious Man in deBessonet’s recent Into the Woods ). Given the abbreviated rehearsal schedule for these Encores affairs, the rest should become more comfortable during the run (expanded to two weeks form the customary one). Most of the show is already in fine shape, including the limited choreography by Lorin Latarro and the work of her talented ensemble. Mention should be made of the lead dancer as well, but his name is not decipherable from the program.

Talk is already circulating about the possibility of Foster taking the show to Broadway once she wearies of making “The Worst Pies in London.” (The actress assumes the role of Mrs. Lovett at the Lunt next month.) The production needs some rethinking, yes; it is not presently in such fine shape as the City Center premieres of the recent Into the Woods or Parade . Once Upon a Mattress isn’t as strong a musical as the others, of course; but with the proper array of clowns working at full throttle, it would likely boost Broadway’s musical comedy quotient by several notches.

Once Upon a Mattress opened January 24, 2024, at City Center and runs through February 4. Tickets and information: nycitycenter.org

About Steven Suskin

Steven Suskin has been reviewing theater and music since 1999 for Variety , Playbill , the Huffington Post, and elsewhere. He has written 17 books, including Offstage Observations , Second Act Trouble and The Sound of Broadway Music . Email: [email protected] .

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Once Upon a Mattress Reviews

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• Music, Family, Comedy
• Watchlist Where to Watch

An adaptation of the 1959 off-Broadway musical features Tracey Ullman as hapless noble Princess Winnifred, the enemy of a scheming queen (Carol Burnett, who created the role of Winnifred). Loosely based on "The Princess and the Pea" fairy tale. Dauntless: Denis O'Hare.

Shippensburg University

Tuesday, May 14, 2024

Print Edition

Once Upon a Mattress: A review

Shippensburg University’s Acting Group presented the musical “Once Upon a Mattress” in the Memorial Auditorium this weekend. 

The cast of about a dozen actors took to the stage to perform the show, which originally ran on Broadway in 1959 and again in 1996, and the commitment to their roles was evident. 

“Once Upon a Mattress” is a story set in a fairytale setting during medieval times. While watching the musical, it is evident that the king and queen of their kingdom have undergone multiple struggles. 

King Sextimus, played by Emmett O’Bell, was put under a spell of muteness. Due to the fact that he cannot speak, it causes issues between his marriage with his wife, Queen Aggravain, played by Emma Barrow. Queen Aggravain projects these struggles onto her son, Prince Dauntless, played by Stephen Good. 

Prince Dauntless wishes for nothing more than to have a wife. However, Queen Aggravain does not believe that there is anybody good enough for her son, and she believes that he needs a true princess. He believes Queen Aggravain does not want him to be married because of the consistent excuses she makes. 

During a conversation Prince Dauntless has with his mother about when he will get his princess, his mother says, “There’s only one person who really cares about you and really worries about your health and your happiness and your future, and that is what I’m talking about right now. Your future, let me be absolutely clear, I want you to get married, but I don’t want you to marry just anybody, after all, marriage is a lifetime commitment, and I wouldn’t want you to make the same mistakes like I did and wind up miserable the way I did.”  

Over the course of the show, a princess comes along named Princess “Fred” Winnifred, played by Caniah Mayo and famously originated by Carol Burnett. Queen Aggravain believes that she needs to put Princess Winnifred through a test to be sure that she is a true princess, and she does just that. The queen requires the princess to pass a sensitivity test — sleeping on a stack of 20 mattresses with a single pea underneath — and when Princess Winnifred passes, Queen Aggravain becomes furious.

The queen refuses their marriage and tries to keep them apart. Nevertheless, Prince Dauntless persists. He told his mother to be quiet, which broke the curse against his father. The curse was said to be broken when the proverbial “mouse devours the hawk.” In this case, Prince Dauntless was the mouse, and Queen Aggravain was the hawk. Due to this, King Sextimus rose to full power and insisted that Prince Dauntless and Princess Winnifred be married. 

“Once Upon a Mattress” included other 

actors who were very prominent to the story in terms of friendship, acceptance and love. There is plenty of gratitude to Charlotte McAleer as Lady Larken, Robbie Ansley as Sir Harry, Seamus Landis as The Minstrel, Pieridae Barbach as The Jester, Hailey Yeater as The Wizard, Tommy Kane as Sir Studley/Knight, Alexsander Jasper as Sir Luce/Knight, Alyssa Sheriff as Lady Rowena/

Pantomime Princess, Mallory Smith as Lady Merrill/Mabelle and Shae as Emily the Maid/Wench/Lady. No talent was left unnoticed. 

The musical was captivating for the Shippensburg University crowd. A mixture of lighting, production, song and excitement led to a world of love, which was once upon a… mattress. 

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Review: ONCE UPON A MATTRESS at Theo Ubique

Theo Ubique brings to life the classic The Princess and the Pea with a modern (and saucy!) twist.

Once upon a time in a kingdom far away, there was a story that turned the traditional idea of a princess on its head long before Moana and Elsa came onto the scene. Once Upon a Mattress is that story. This 1959 show originally starring the great Carol Burnett brings to life Hans Christian Andersen 's classic The Princess and the Pea with a modern (and saucy!) twist. Evanston's Theo Ubique Cabaret Theatre knocked this witty show out the park with its intimate setting that immersed the audience in the action.

Opening the show with a powerful ballad was Jasmine Lacy Young in the role of the Poet. Her strong voice boomed through the small theatre and truly set the stage for an enjoyable night. Her counterpart, the Jester (Michael Ashford) had the most brilliant facial expressions of any character in the performance, and his fancy footwork in " Very Soft Shoes" was nothing short of dazzling. Perfectly cast in the role of King Sextimus was Andrew Fortman. Though mute for the majority of the performance, Fortman had no trouble conveying any idea, thought or expression- the mark of an exquisite actor. The King's character requires such a precise delivery of movements and pantomime which Fortman perfectly executed. The number "The Minstrel, the Jester, and I" was one of the most entertaining numbers of the evening, performed by this hilarious trio.

Playing Fred's love interest Prince Dauntless was none other than August Forman . Forman masterfully showed us the incredible nuanced transformation of this timid mama's boy turned brave and dashing prince. At times happy-go-lucky and at times full of boyish determination, Forman was perpetually entertaining to watch. Goldberg and Forman were especially impressive in the company number "Song of Love" as Forman sang while Goldberg performed many an impressive feat, from singing to wrestling to drinking everyone under the table.

Reigning above the action was Queen Aggravarian, played by Anne Sheridan Smith . Her domineering nature had half the kingdom scared stiff, though she proved to be no match for Fred. Her relationship with Prince Dauntless was possibly a little too realistic for anyone who has dealt with a difficult mother (or mother-in-law). Smith's wry smile and almost elegant superiority complex made her an excessively entertaining fixture of the show.

The fabulous ensemble (Nathe Rowbotham, Peter Ruger, Laura Sportiello , Sarah J. Patin) was the pièce de resistance of Once Upon a Mattress at Theo Ubique. Each one brought their own flair and energy to the performance. The company number Spanish Panic was as robust as it was invigorating, featuring a whimsical choreography by Jenna Schoppe. Assisting in the choreography was J Alan, doubling as the Wizard- color me impressed! Director Landree Fleming delivered this gem of a show by keeping it fast-paced without sacrificing one bit of its cleverness.

Though this enchanting performance was practically perfect, I must say that the one disappointing element was the lack of a stack of mattresses! Although it would be undoubtedly difficult to pull off in a small space, I consider it to be part of the spectacle necessary to this show. Nonetheless, the way Princess Winifred's test made use of the limited space was creative and still fun to watch.

Delightful costumes permeated this show, featuring swamp-esque attire for Fred, sharp and royal trappings for Dauntless and Aggravarian, and a glittering gown for Larken. Lighting was well done and properly fit the mood for each scene. Before seeing this performance I would have said that the limited space of Theo Ubique was not sufficient for such a grand musical, but I was proven wrong! The intimate setting worked well and allowed me to see this show in a whole new light. Finally, the live musicians- often my favorite part of a show- did not disappoint. This high-energy crew delivered a non-stop gorgeous cascade of music that was a joy to listen to.

Theo Ubique brings a timeless classic new life with a wickedly funny cast. Run, don't walk, to this fantastic show!

Once Upon a Mattress runs through May 1st at Theo Ubique in Evanston. Tickets can be purchased here .

Chicago SHOWS

Recommended For You

Love, laughs and a search for a true princess: 'Once Upon a Mattress' at Surfside Playhouse

With a twist on the traditional princess story, surfside playhouse's "once upon a mattress" shows that happily ever afters are anything but ordinary..

Surfside Playhouse proves that "happily-ever-afters" are anything but ordinary with "Once Upon a Mattress," a musical twist on the fairy tale "The Princess and the Pea." The show opens Friday, Nov. 3 for a run through Nov. 19.

If you thought you knew fairy tales, get ready to see them turned on their head in this raucous and heartwarming show.

Inspired by the classic Hans Christian Andersen fairy tale, this musical comedy takes a whimsical approach to the traditional princess narrative. Princess Winnifred, or "Fred" as she's affectionately known, isn't your typical royal. She's brash, unrefined, and anything but a damsel in distress.

"'Once Upon a Mattress' is considered a fractured fairytale in that the original plot is twisted and reimagined in funny and surprising ways," said Surfside's artistic director, Bryan Bergeron.

"It’s wonderfully funny and includes a clever blend of characters that will surprise and delight throughout the show."

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Originally crafted as a star vehicle for Carol Burnett, "Once Upon a Mattress" first premiered on Broadway in 1959. With music by Mary Rodgers and lyrics by Marshall Barer, the show continues to charm audiences with its colorful characters and memorable songs.

In Surfside's production, Caitlin Reedy leads the way as Princess Winnifred, the endearing heroine.

"[Caitlin] will knock the socks off our audience," Bergeron said. "They will fall in love with this powerhouse performer the second she walks onto the stage."

Steve Kraft plays the timid and bumbling Prince Dauntless, and Dorothy Wright Sontag tackles the scene-stealing role of Queen Aggravain, who devises a series of near-impossible tests to find a suitable bride for her son.

"As a theater that produces 'Fractured' tales every season, 'Once Upon a Mattress' - a fractured version of the Princess and the Pea - fits right in with the culture of our little beachside theatre group," Bergeron said. "We enjoy performing the silly, the funny and the poignant. It suits us."

Surfside's production team has taken inspiration from fairy tale themes to create a storybook world.

"The setting is a medieval castle circa 1400," Bergeron said. "We have created scenery and costumes that exploit the character traits of the setting and time period with a timeless picture book flair."

The music, with its fun melodies and witty lyrics, complements the show's comedic tone. With songs like "Shy," "In a Little While," and "Happily Ever After," the musical promises fun for the whole family.

"Our patrons will enjoy the campy humor that is a signature trait of this unique production," Bergeron said. "If you like to tap your feet and laugh, then this is the show for you."

At its heart, "Once Upon a Mattress" is a story about love, acceptance, and the triumph of the underdog. This tale of unconventional romance and nontraditional royalty is a reminder that, in the end, what really matters isn't the number of mattresses on a bed, but the love in your heart.

'Once Upon a Mattress'

Where: Surfside Playhouse, 301 Ramp Road, Cocoa Beach

When: Fridays and Saturdays at 8 p.m. and Sundays at 2 p.m. through Nov. 19. There will also be a special Saturday matinee on Nov. 18 at 2 p.m.

Tickets: $28 for adults; $25 for seniors, students and military; $15 for children under 12

Info: 321-783-3127

On the web: surfsideplayhouse.com

Christina LaFortune is the Entertainment and TGIF Editor at FLORIDA TODAY. Follow her on Facebook at  facebook.com/christinalafortune  or send her an email at  [email protected] .

Whether you're interested in music, theater, festivals or other local entertainment, FLORIDA TODAY has got you covered. Support local journalism by subscribing at  Special Offers - USAToday Network .