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Sutton Foster shines in CTG’s enchanting “Once Upon a Mattress” revival: A Royal Hit of Heart and Humor

Musical theatre legend Sutton Foster (The Drowsy ChaperoneThe Music Man) returns to the Ahmanson Theatre as Princess Winnifred in this beloved musical fairytale. 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.

Directed by Tony-nominated Encores! Artistic Director Lear deBessonet and with a new 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 Winnifred’s ability to charm and transform with willpower, honesty, and a little bit of help from her friends.

The Center Theatre Group‘s production of Once Upon a Mattress at the Ahmanson is an exuberant, thoroughly charming revival of the 1959 Broadway musical, based on the Hans Christian Andersen fairy tale The Princess and the Pea. Directed by Lear deBessonet, with a new adaptation by Amy Sherman-Palladino, this vibrant staging brings a fresh energy and relevance to the timeless comedy, while maintaining the beloved humor, catchy tunes, and whimsical spirit that have made the show a favorite for over six decades.

Production photos by Joan Marcus.

The story is a playful retelling of the classic fairy tale, set in a kingdom where the queen (played with delightfully imperious grandeur by a scene-stealing Ana Gasteyer) sets impossible tests for  any princess who wishes to marry her son, Prince Dauntless (a warm and lovable Michael Urie). This leads to the arrival of the plucky, independent, and unaffected Princess Winnifred, played with endearing charm by Sutton Foster.

Winnifred’s unconventional demeanor and her refusal to conform to the expectations of royalty put her at odds with the royal family and the court, but it’s her simple authenticity that  ultimately what wins over the kingdom. As she falls for Prince Dauntless, she faces a series of comedic hurdles, from the queen’s machinations to the absurdity of the royal protocols.

DeBessonet’s direction injects modern sensibilities into the show, balancing of broad, physical humor with emotional depth. The script, which was originally written by Jay Thompson, Dean Fuller, and Marshall Barer, feels timeless and relevant, drawing on themes of identity, love, and the rejection of societal expectations. While still steeped in the fairy-tale world of absurd royalty and outlandish humor, there’s a definite sense of inclusivity and feminist empowerment that’s heightened in this production.

Foster brings a hillbilly energy (and intonation) to her performance as the down-to-earth Princess. With her lanky limbs and precise comic timing, she brings to mind the stylings of gifted comedian Carol Burnett. Indeed,  Once Upon a Mattress marked the Broadway debut of Burnett, who originated the role of Princess Winnifred back in 1959.

Production photos by Joan Marcus.

The entire cast is brimming with talent, with each actor bringing something special to their role. Sutton Foster as Princess Winnifred is a knockout—effortlessly blending physical comedy with heart. Her rendition of “Shy,” a song about her reluctance to embrace her royal status, is both funny and vulnerable. Foster brings the right balance of humor and vulnerability to her character, making her feel like a modern woman in a very old-fashioned world.

Michael Urie’s Prince Dauntless is equally impressive, playing the role with a perfect mix of sweetness and naiveté. He manages to infuse the prince with genuine sincerity, making it clear that Dauntless’s social awkwardness and dependence on his mother come from a place of earnestness, not foolishness.

Ana Gasteyera as Queen Aggravain is a joy to watch. Her commanding presence and comedic timing elevate every scene in which she appears. From her comic threats to Winnifred to her manipulative games with her son, Gasteyer’s performance is a masterclass in comedic villainy. The queen’s disdain for her son’s potential wife and her over-the-top desire to keep him tethered to her side are drawn with just the right balance of menace and hilarity.

Special mention should be made of the ensemble, which contributes significantly to the fun and energy of the show. Particularly notable is the amusingly vain character of Sir Harry, played by Ben Davis, who serves as both a loyal servant and a romantic lead in his own right. His love story with Lady Larkin, played by Oyoyo Joi, provides some of the production’s sweetest and most touching moments. David Patrick Kelly gives a wonderfully energetic pantomime performance as the mute King.

The scenic design, by David Zim, brings a vibrant and imaginative flair to the stage. The Ahmanson’s intimate setting is well-suited for the show, allowing the audience to feel personally engaged with the world of the kingdom. Zim’s set design features lush, colorful backdrops and grandiose yet playful elements, such as oversized furniture and exaggerated props, which are especially effective in scenes like the famous “mattress” moment.

The costumes by Andrea Hood are another highlight, with each character’s wardrobe cleverly reflecting their personality. Winnifred’s practical, down-to-earth clothing contrasts with the more ornate and ostentatious attire of the royal family. The playful anachronisms—such as more contemporary touches within the traditional medieval setting—are a nod to DeBessonet’s vision of updating the fairy tale for today’s audiences without losing its original charm.

Once Upon a Mattress

DECEMBER 10, 2024 – JANUARY 5, 2025

AHMANSON THEATRE

CenterTheatreGroup.org

Production photos by Joan Marcus.

Pauline Adamek

Pauline Adamek is a Los Angeles-based arts enthusiast with over three decades of experience covering International Film Festivals and reviewing new Theatre productions, Film releases, Art exhibitions, Opera and Restaurants.

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