Fresh from a triumphant season at New York City Center, unabashedly wholesome Golden Age musical comedy Once Upon A Mattress delights in this limited Broadway season.
Centring upon the plight of Winnifred the Woebegone (the “Princess” of “The Princess and the Pea”), the musical is the ideal vehicle for leading lady Sutton Foster, allowing for plenty of physical comedy, leggy gymnastics, and soaring belted notes.
The chance to see this all too rarely performed musical is a welcome opportunity for those who have recently devoured the biography of the musical’s composer, Shy: The Alarmingly Outspoken Memoirs of Mary Rodgers. The most significant musical theatre score penned by Rodgers, the charms of the music of Once Upon A Mattress are readily enjoyed, played by a 16-piece orchestra positioned upstage in the ongoing style of Encores.
The original book is deftly and unobtrusively updated by television writer Amy Sherman-Palladino, a frequent collaborator of Foster’s. The comedy remains entirely family friendly, with nothing more expected of the audience than to sit back and enjoy.
Director Lear deBessonet keeps the action brisk and cheerful, neatly balancing a streamlined confection of winking comedy, appealing romance, and dishy dance numbers. The affection and attention of the full audience are held through every moment with nary a weak link in sight.
The savvy combination of David Zinn’s faux-regal sets, Andrea Hood’s pastel candy coloured costumes and choreographer Lorin Latarro’s old school hoofing give the delectable impression of watching an MGM movie musical live on stage. Latarro ramps up the comic dancing in company number “Spanish Panic,” later enchanting with act two charm song “Very Soft Shoes.”
Strong as the full company proves to be, energy noticeably lifts with Foster’s arrival, when Fred (as Princess Winnifred is affectionately known) swims the moat to meet eligible bachelor Prince Dauntless. Foster once again proves her stellar comic chops, which are all the sharper for her well honed ability to push boundaries but never go too far.
Perennially boyish actor Michael Urie makes for an adorkable Prince Dauntless, he who is afraid of stairs. Urie and Foster enjoy easy chemistry and support each other’s performances effortlessly.
Ana Gasteyer chews up the scenery as the diabolically driven Queen Aggravain. David Patrick Kelly is a sprightly dear old King Sextimus.
Daniel Breaker has the audience in his palm as the court Jester, also serving as an affable narrator of sorts. Brooks Ashmanskas does his usual hammy schtick as the shifty Wizard.
The secondary couple is particularly strong, with Nikki Renée Daniels (Lady Larken) warmly partnering Will Chase in his role as vainglorious knight Sir Harry.
As Broadway continues to move on to cutting edge technology and heavier dramatic issues, it is hoped that there will always be a place for charming family friendly fare such as Once Upon A Mattress.
Once Upon A Mattress plays at Hudson Theatre, New York until 30 November 2024. For tickets, click here.
Photos: Joan Marcus