Summer stock and seasonal shtick abound in the Broadway transfer of the 1959 musical “Once Upon a Mattress,” a production from City Center that will make Broadway fans wonder when and how Sutton Foster, the all-singing, all-dancing musical theater star, morphed into Carol Burnett at the Renaissance Faire.
Foster’s take on Princess Winnifred the Woebegone, whose kingdom is the swamp, certainly embraces the kind of physical comedy Americans used to watch on their tiny living room TVs. Oldsters might think of Johnny Carson’s The Mighty Carson Art Players as they watch the ever-game Foster wriggle and jiggle, squeeze and shape-shift and generally transfer all of the energy that used to be distributed throughout her body into her haunches. She keeps her chin down and her signature aw-shucks grin in place, and if you’re into that kind of funster thing, you’ll have a blast. Not sure I ever saw a show that featured so much of the star’s rear end. Even Burnett, who originated the role, demurred.
Joan Marcus
Sutton Foster in “Once Upon a Mattress” on Broadway. (Joan Marcus)
I can’t say I’ve ever fallen in love like some with “Once Upon a Mattress,” an adaptation of the 1835 Hans Christian Andersen fairy tale “The Princess and the Pea” and as collectively penned (for another era) by Mary Rodgers (music), Marshall Barer (lyrics and book) and Jay Thompson and Dean Fuller (book). But the (formerly) squeaky-clean show set in the 1400s has legions of fans, a consequence of being so often presented by high schools over the last 65 years. So many people have sung the one-joke signature number, “Shy,” you could argue this show has been far better than therapy for several generations of introverts.
Even as revised and mildly rehabilitated by Amy Sherman-Palladino (of “Gilmore Girls” fame), “Once Upon a Mattress” remains a family attraction, PG for some. A 10ish-year-old girl near me giggled delightedly every time Foster either wiggled her butt or raised so much as an eyebrow. Another five years and she’d likely feel differently about princesses and peas and thank heavens for that. But then a certain retro innocence long has been the charm of a piece now aimed at that sweetest of Broadway profitability: moms and daughters. And I suspect this new, not-that-different version is also a gambit to get more licenses in the educational market.
On Broadway, this whole Lear deBessonet production from City Center (now with some cast changes) really is pretty slight and seems to be saying, “Hey, it’s August and we’re all just having fun with our pals here on this low-budget set doing a show you loved when you were a happy little theater kid. We got air conditioning and it’s hot outside! Don’t be so judgy, people!”
Joan Marcus
Michael Urie and Sutton Foster in “Once Upon a Mattress” on Broadway. (Joan Marcus)
Michael Urie, having just played as Sir Robin in the now-closed “Spamalot,” largely gets to do it again as the spindly Prince Dauntless, as daunted by a search for both a princess and emancipation from his mom, the overbearing Queen Aggravain, jovially if unwaveringly played by Ana Gasteyer as a blend of Meryl Streep as Anna Wintour and a pantomime dame, assuming that’s not the same thing. The narrator is the sandpaper-dry Daniel Breaker, who skillfully plays the normative character this kind of broad comedy needs. He’s essential.
Brooks Ashmanskas does some magic tricks as the Wizard and barely needs to break a sweat. Will Chase strolls out and leading-mans it as a zesty Sir Harry, Nikki Renée Daniels gets through the night as Lady Larken and David Patrick Kelly does his level best with King Sextimus, a mute character past his sell-by date.
Joan Marcus
Ana Gasteyer (right) in “Once Upon a Mattress” on Broadway. (Joan Marcus)
The Hudson Theatre certainly isn’t filled to the brim with spectacle. As is typical with Encores transfers, the orchestra is onstage where sets used to be, but you do get a few fun puppets and sight gags for your hard-earned money. Frankly, the best design element here is the props: Foster pulls live, furry creatures and all manner of other stuff from her gnarly head of hair. But this is really her chance to show Broadway her physical comedic chops. I’ve known they were there ever since I first saw her jump to fame in the tryout of “Thoroughly Modern Millie” back before Prince Dauntless was even born, but she always has kept them in the background.
Not in “Once Upon a Mattress.” Not as the above-the-title star climbs all over the signature bedding in search of a pea, or whatever. It takes guts, skill and talent, and Foster always has had all three of those happening at once. She’s clearly having a good time and you either jump on the Good Ship Sutton, or you’ll keep falling overboard all night long.
