Theater Review by Brian Scott Lipton. . . .
Hey, nonny nonny, is it you? Hey, nonny nonny, is it you? Well, in the case of City Center Encores! exceedingly fun and frothy revival of the 1959 musical Once Upon a Mattress, it’s every member of the principal cast – stars one and all – who have been perfectly chosen by director Lear deBessonet, elevating what might have otherwise been a merely pleasant experience to a must-see show!
A comic re-working of the Hans Christian Andersen fairy tale, “The Princess and the Pea,” the show is, admittedly, little more than a two-and-a-half hour lark (despite the contributions of three original book writers, and now boasting a zingy updated script by television goddess Amy Sherman-Palladino). It also boasts a charming score by Mary Rodgers and Marshall Barer, complete with a showstopper or two and some lovely ballads—all played stunningly by the Encores Orchestra under the direction of Mary Mitchell-Campbell—to further enliven the proceedings.
A decidedly silly bit on tomfoolery, Mattress depicts a small kingdom shaken up by the arrival of an unconventional, tomboyish princess, Winnifred the Woebegone (a priceless Sutton Foster, almost banishing the memory of the role’s originator, Carol Burnett, who also re-created the role for two television adaptations), who is far more at home in her swampy domain than these rather swanky surroundings. (The simple yet effective set is by David Zinn.)
Yet armed with a misguided confidence and a quickly acquired taste for the finer things in life, she’s convinced she can convince the imperious Queen Aggravain (the delicious Harriet Harris at her absolute haughtiest) that she is “genuine” enough to deserve the marital hand of the Queen’s only son, Dauntless the Drab (a spectacular Michael Urie), who is essentially the poster child for arrested development.
A most unhappy woman, married for years to the mute King Sextimus (a game David Patrick Kelly), Aggravain neither wants to give up her ability to rule or to control her only child. So, with the help of the kingdom’s wizard (a delightful Francis Jue), she designs a test that should be impossible for any visitor to pass: Winifred will not be able to sleep through the night, thanks to potions, scents, hypnotic mirrors, one squawky bird—and in part, because one small pea has been placed beneath 20 downy mattresses.
As it happens, it’s not just Winifred and Dauntless – who have become instantly smitten – who want a positive outcome, but the entire kingdom, since no one can wed until they do. That’s a particular problem for the handsome, slightly dimwitted Sir Harry (the velvet-voiced Cheyenne Jackson) and his sweetheart, the somewhat smarter Lady Larkin (Nikki Renee Daniels, gorgeous in every aspect), who finds herself “in the family way.”
Even though Winifred doesn’t arrive until 20 minutes into the show, Foster essentially dominates the rest of the production, showing off all her prodigious talents and her complete lack of vanity. (Her costumes by Andrea Hood are remarkably unflattering, while everyone else on stage looks great!) Her opening number, “Shy,” allows her to belt to the heavens and hold notes for an eternity; the act one finale, “Song of Love,” reminiscent of her big Drowsy Chaperone number “Show Off,” proves (once again!) she can seemingly do anything; and her jazzy rendition of “Happily Ever After” is nothing short of masterful. And I could go back every night just to watch her facial and bodily contortions as she tries to fall asleep on what turns out to be some very rigged mattresses.
She also has remarkable chemistry with Urie, who gives extra dimension to the often-thankless role of Dauntless. The pair not only seem to genuinely like each other, but I suspect are trying to constantly crack each other up and aren’t afraid to ad-lib or look ridiculous to keep us further in stitches.
Special kudos also belong to Tony Award winner J. Harrison Ghee, who once again proves his triple-threat ability as the sly Jester, crooning the lovely “Many Moons Ago,” enchanting us with “Normandy,” and executing Lorin Latarro’s spiffy choreography in “Very Soft Shoes.” (Latarro also creates some nifty movement for the largish ensemble in the “Spanish Panic” number.)
Unfortunately, the length of the run is due to the Encores! schedule. They have to load this show out and then Jelly’s Last Jam comes in, all in roughly the span of a week. But one can hope it’s merely a months-long siesta until this joyous offering can revive the spirits of even the weariest theatergoer.
Once Upon a Mattress plays New York City Center (131 West 55th Street) through February 4. Visit www.nycitycenter.org for tickets and information.
Photos: Joan Marcus
