In 1959, two as-yet-untested stars made their Broadway debuts: Mary Rodgers, with a gorgeous score that put her on the map, and Carol Burnett, in her first stage role as the brassy, loveable Princess Winifred the Woebegone—or “Fred” to her friends. More than six decades later, musical theater legend Sutton Foster (The Music Man) returns to the City Center stage alongside an all-star creative team to recapture that same infectious energy and joy.
Led by Encores! Artistic Director Lear deBessonet (Into the Woods, Lionel Bart’s Oliver!) and with a new concert adaptation by Amy Sherman-Palladino (The Marvelous Mrs. Maisel), Once Upon a Mattress sets an unapologetic free spirit loose in a repressed kingdom, reveling in Fred’s ability to charm and transform with willpower, honesty, and a little bit of help from her friends. Full of gloriously catchy melodies like “Shy” and “In a Little While,” this uproarious update of Hans Christian Andersen’s “The Princess and the Pea” promises both classic charms and new delights.
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.
Yet it’s Ms. Foster who truly carries the show, albeit with sparkling assistance from Mr. Urie in their scenes together. All of this leading lady’s leading assets are on display here, from her sometimes underused capacity for dry, sly humor to that Energizer Bunny-like exuberance. The latter fuels rollicking and very funny production numbers, starting with a show-stopping “Shy” — performed upon Winnifred’s entrance after swimming a moat, as she’s still pulling leeches and other small animals from her body and hair.
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