How's the Broadway revival of wacky 'Once Upon a Mattress'? Here's our review
"That made my heart explode."
"She's like pure physical comedy."
"This is theater."
Those were some of the comments overheard from very happy audience members after a recent performance of the Broadway revival of "Once Upon a Mattress," starring the mega-talented Sutton Foster. Now playing at the Hudson Theatre, the Tony winner is reprising her role as Winnifred the Woebegone on the heels of a sold-out run at New York City Center’s Encores! earlier this year.
The musical — an update of Hans Christian Andersen’s “The Princess and the Pea” — returns to Broadway for the first time in over 25 years. Directed by Tony Award nominee Lear deBessonet ("Into The Woods"), this new adaptation is by Emmy Award winner Amy Sherman-Palladino (“The Marvelous Mrs. Maisel”, “Gilmore Girls”).
With music by Mary Rodgers, lyrics by Marshall Barer, and book by Jay Thompson, Dean Fuller and Marshall Barer, "Mattress" helped make Carol Burnett a star in 1959. Sarah Jessica Parker led the 1996 revival.
In the current two-hour production (there is a 15-minute intermission), the crowd was laughing and having a ball. So what's the problem? This constant barrage of silliness rarely works. The show is packed with filler and could easily be 90 minutes. And despite a wonderful cast that seems to be having a great time, there's never a wow moment.
Since her 2002 breakthrough in "Thoroughly Modern Millie," theater lovers have known that Foster can do almost anything. She's a dynamo who can sing and dance — and she really showed off her acting skills as Marian in the 2022 revival of "The Music Man."
Channeling Burnett and Lucille Ball, among others, Sutton gives it her all as a spirited and kooky princess from the swamps who is enthusiastically welcomed in a wacky new kingdom. But the physical comedy (credited to Skylar Fox) rarely delivers — although Foster's mattress routine near the end of the show is worthy of an Olympic medal. A scene involving stuffing her mouth with grapes, on the other hand, is almost embarrassing.
As Prince Dauntless, Drama Desk Award winner Michael Urie ("Spamalot," “Ugly Betty”) whines a lot. It's cute but tiresome. Ana Gasteyer (“Saturday Night Live,” "Wicked") as Queen Aggravain has fun playing the mean mommy, who gives would-be brides impossible tasks so no one can marry her darling boy.
Will Chase as Sir Harry and Nikki Renée Daniels as Lady Larken rarely grab attention. As the wizard, Brooks Ashmanskas never dazzles. David Patrick Kelly as King Sextimus speaks volumes in a mostly silent role. The best performance on stage goes to the charismatic Daniel Breaker as The Jester.
Artistically, the show hits and misses. Lorin Latarro's choreography never shines, even in Act I's "Spanish Panic" dance contest. Scenic designer David Zinn creates the 20 black-and-white mattresses seen in the finale. Andrea Hood deserves praise for the costumes, which are bursting with color.
None of the songs are memorable but they are played well by the band. Orchestrations are by Bruce Coughlin. Mary-Mitchell Campbell serves as music supervisor; Annbritt duChateau is conductor and music director.
To be fair, it's the end of summer. People want to laugh and have a good time.
Maybe that explains the audience's enthusiasm. They want "Happily Ever After," as Foster sings in Act II.
"This is theater"? Grab a mattress and dream on. Broadway can do better.
Go: "Once Upon a Mattress," through Saturday, Nov. 30, Hudson Theatre, 141 W. 44th St., $55 to $389; onceuponamattressnyc.com.
Bill Canacci can be reached at [email protected].
This article originally appeared on Asbury Park Press: Once Upon a Mattress Broadway revival stars Sutton Foster: Review
