REVIEW: Once Upon a Mattress

Review of the Wednesday, August 21, 2024 matinee performance at the Hudson Theatre in New York City. Starring Sutton Foster and Michael Urie with Brooks Ashmanskas, Will Chase, Nikki Renee Daniels, Ana Gasteyer, David Patrick Kelly and Michael Olaribigbe. Music by Mary Rodgers. Lyrics by Marshall Barer. Book by Jay Thompson, Marshall Barer and Dean Fuller. Adaptation by Amy Sherman-Palladino. Scenic design by David Zinn. Costume design by Andrea Hood. Lighting design by Justin Thompson. Sound Design by Kai Harada. Orchestrations by Bruce Coughlin. Physical comedy and effects by Skylar Fox. Choreography by Lorin Latarro. Direction by Lear deBessonet. 2 hours, 15 minutes with one intermission.

Who knew a 65 year-old unabashedly old fashioned musical would be as fresh (or fresher) than most of Broadway's newest shows? Yet here we are in 2024, celebrating the return of 1959's Once Upon a Mattress, now enjoying a critically-acclaimed revival. Add this critic to the list of "acclaim-ers!"

On paper, this piece would seem like just the sort of thing I'd avoid - I suffer from fairy tale musical fatigue, after all. Add to that the show's wholesome reputation - I like my shows with some bite. Interestingly enough, it's these very things that this Encores! transfer embraces that makes it work so beautifully. 

The book by Jay Thompson, Marshall Barer and Dean Fuller is definitely of its time - central characters, a "B" couple, colorful featured roles, front-of-curtain scene change dialogues and musical reprises. But this production has the benefit of the clever Amy Sherman-Palladino as its adapter, she of Gilmore Girls and The Marvelous Mrs. Maisel fame. She knows her way with strong women in various time periods. While I am completely unfamiliar with the original, I've come to understand that she tightened it up, condensed characters and spruced up some of the outdated lines. Sure, there are some empowerment slogans, and modern era-tinged references, but they never really interfere with the show's central purpose: joy and laughter. Mattress has both in mass quantity.

Much of that joy stems from the lovely score by Mary Rodgers (music) and Marshall Barer (lyrics). Rodgers clearly inherited her father's gift of tuneful ear worms in a variety of tempos, and Barer, while no Hammerstein, clearly has a knack for word play and a sense of humor. For me, the stand out numbers of this classic were "Many Moons Ago," a cheeky prologue, "In a Little While," a tender duet for the "B" couple, and, of course, "Shy," a belty character number that really establishes the star. Finally, there's the very clever, wordy "Happily Ever After," which had to be on Sondheim's mind when he was creating Into the Woods. Though certainly not a crown jewel of the Golden Age, this gem of a score holds up all these years later.

Though she seems to have a love or hate her reputation among the theater fandom, I find Lear deBessonet to be a fine director, who makes a meal out of the snack that creating for Encores! allows. Here, as with Into the Woods, she mines the comedy from the given text, and knows just how to get the most out of her cast without giving in to excess. Here (aided by Skylar Fox - credited as "physical comedy and effects by") she leans into the inherent silliness that this take on a fairy tale affords, all while insuring that the heart and sweet romance of it all are never far behind. The show (and its current staged concert lineage) practically mandates an overtly presentational staging, but she seems to have elevated even that here, making the audience feel a part of it all somehow. If I had to make any qualm about this Broadway transfer staging, it is that choreographer Lorin Lattaro didn't spruce up and tighten the dance numbers. They still look like they were crafted with a two week time crunch, fine for City Center, somewhat lacking for Broadway. This is no slight to the delightful ensemble; they are all aces. Therein lies the rub: they are clearly better than the numbers they perform. You can almost sense that they want to break out and let themselves go.

The freedom from excess mandated by its earlier incarnation also goes for the design elements. The simplicity here actually adds to the proceedings; the story and its players are not overshadowed by what could under normal circumstances be the desire to over-embellish everything. Instead, scenic designer David Zinn keeps it light with more of a suggestion of a kingdom and its palace than a literal translation. This is not to say that what we see isn't wonderful - it is, with enough little surprises and nifty set pieces to keep our eyes glued to the stage. Colorful and royal in shape and accouterments the set is quite nice. The colorful lighting, designed by Justin Thompson, adds a technicolor wash to the whole thing, and Kai Harada's sound design is perfect - clear as a bell and never too much. The balance with the onstage orchestra is also perfect. But it is the costumes, designed by Andrea Hood, that really bring it all together visually. A rainbow of colors race through each scene as the performers gather and disperse; they are a visual representation of diversity and optimism. Naturally, they look "royal" (think 21st century meets Disney's Sleeping Beauty), and yet somehow, they seem modern and relatable. They also, smartly, resemble a whole puppet kingdom, a nod to the opening number and Mister Rodger's Land of Make Believe. Lessons are learned, but it's never too scary.

The cast, full of Broadway regulars and newcomers alike, is terrific and all on the same page with the performing style required by this staging. To a person, they seem to be having the time of their lives, and that sweeps across the footlights and grabs the willing audience. Like I said, joy pervades the Hudson. Special shout outs to the ensemblists who played Princess Number 12 and "Kevin." Both stood out in all the right ways throughout the performance.

At our performance, the Jester, normally played by Daniel Breaker, was played by Michael Olaribigbe, an actor clearly put on at the last minute, and not fully rehearsed in the role at this point in the run as evidenced by his use of script pages in act two. Well, let's just say that he saved the day! For the first act, you'd never have known he was doing this for probably the first time. He was so smooth, and quite charming. And when he pulled out the script for the first time, You could forget it was even there, so excellent and in character were his line readings. It was likely no small comfort to him that his primary scene partner at the end was Brooks Ashmanskas, seasoned pro that he is, and as delightful as always.

As King Sextimus the Silent, David Patrick Kelly was adorably animated, wordlessly conveying all the things he couldn't say hilariously. His "Man to Man Talk" was charming, delighting a young audience member who giggled loudly throughout, blissfully unaware of the birds and the bees content of the song. Ana Gasteyer, new to the production, is a twisted combination of over the top entitlement, and a self-serving need to never let her son find happiness. Her delivery is comically blistering, and her amazing belt of a singing voice and full characterization serves each number of hers splendidly.

With the perfect amount of old-school vocal styling, and just short of camp portrayals, the secondary couple is in more than capable hands with Will Chase and Nikki Renee Daniels on the case. He nails the vacuous bravado and ego (think Gaston as a nice guy) of a knight, while she raises the soprano ingenue trope to a new level of sophistication; this Lady Larken has agency, and Ms. Daniels works it like a charm.

The male part of the central pairing, Prince Dauntless is played with a wonderful blend of wide-eyed childlike innocence, and a smart awakening of more grown up feelings by Michael Urie. He is clearly relishing this performance - he exudes confidence and joy as he dives head first into creating a fully rounded character from material that is a bit light. I found that, like the rest of the principals, his use of character-driven vocal affectation really makes the whole thing much more enjoyable. If there's any show that does not need the American Idol treatment, it is this one. He also shares amazing chemistry - no small feat - with his leading lady.

Let's face it. This Broadway run (and subsequent L.A. run) exists purely because of Sutton Foster. Frankly, if she weren't already a celebrated stage star, this vehicle would make her one. We've been fortunate enough to see her in a variety of roles, utilizing a variety of her gifts as a musical actress. Here, Ms. Foster is a wonder of physical comedy prowess and what appears to be a deep well of energy. She's completely committed, fearless, in fact. One supposes she must sleep a lot on her off days. Like the rest of the company, her performance is one of character over self-indulgence; from her singing to her scene work, from her dancing to her physicality, everything seems so organic and natural, yet without overkill. Being so early in the season, and with a limited run to boot, one hopes the awards circuit doesn't forget that she came, she saw and she conquered this behemoth of a role.

I am so glad I gave this chestnut of a show a chance. I left the Hudson on a cloud of absolute happiness with a goofy grin plastered on my face. What a great feeling! This is one not to miss!

📸: J. Marcus

REVIEW: Spamalot (Kennedy Center)

Review of the matinee performance on Sunday, May 21, 2023 at the Eisenhower Theater at the John F. Kennedy Center for the Performing Arts in Washington, D.C. Starring Alex Brightman, James Monroe Iglehart, Leslie Rodriguez Kritzer, Rob McClure, Matthew Saldivar, Jimmy Smagula, Michael Urie and Nik Walker. Book and lyrics by Eric Idle. Music by John Du Prez and Eric Idle. A new musical lovingly ripped off from the motion picture Monty Python and the Holy Grail. Scenic and projection design by Paul Tate dePoo III. Costume design by Jen Caprio. Lighting design by Cory Pattak. Sound design by Haley Parcher. Music direction by John Bell. Direction and choreography by Josh Rhodes. 2 hours and 15 minutes, with one intermission. This production closed with this performance.

Grade: B

Have you ever been with a group of people and they all get a big laugh out of something, and you sit there completely clueless as to why they are howling with delight? That exact feeling came over me several times during the closing performance of Spamalot at the Kennedy Center. The audience, it seems was full of Monty Python fans, who screamed and cheered like the teen girls the night The Beatles were on Ed Sullivan every time a bit or beloved character appeared on stage. (There is, apparently, a significant overlap of Monty Python and Beetlejuice on Broadway fans.) It was like being at a rock concert. Their enthusiasm was infectious, because despite not knowing much of anything about it, I found myself caught up in the laughs and fun.

The book and lyics, by Pythoner Eric Idle are funny even if you go into the show unknowing. And there were plenty of "modern" updates - including a few meta moments, political jabs, and a particularly hilarious reference to George Santos. By and large, the book served as a set up to the musical numbers, while the lyrics were joke laden, and it was hard to end one giggle before launching into a full-on guffaw. Aside from "Always Look at the Bright Side of Life" - an ear worm of the highest order - the score is tuneful (music by Idle and John Du Prez), but definitely of the moment. I don't think I could hum a single other tune from the show if my life depended on it. 

Instead, I have very vivid memories of just about every number, thanks to the excellent visuals and dazzling choreography. Musical highlights included: "Knights of the Round Table," "I'm Not Dead Yet," "You Won't Succeed on Broadway," and "The Diva's Lament." Director-choreographer Josh Rhodes has created moment after moment of low brow and high style comedy that is as at home in the book scenes as it is in a multitude of endlessly clever and rousing production numbers. Part send-up, part loving tribute, his choreography consistently pays tribute to the golden age musical, while still feeling modern. Unlike a large portion of the second act which felt excessive and lagging, his routines are always exciting to watch. (To be honest, everything after "The Diva's Lament" up to the big finish of "The Holy Grail," felt almost unnecessary, and definitely slowed things down.)

The entire design team has created a full production here, more touring production than the original idea of a staged concert in the Broadway Center Stage series. With scenic and projection design by Paul Tate dePoo III, costume design by Jen Caprio, and lighting design by Cory Pattak, the show is a glowing example of creative design; for the price of a concert series, we got Broadway production values. The only real qualm I had production-wise is with the sound design by Haley Parcher; the sound effects were fine, but the general mix was frequently muddled, with the (great sounding) orchestra frequently overpowering the cast.

Speaking of the cast, they are a triumph from top to bottom. The ensemble, full of Broadway regulars, is aces. The ensemble of principal cast members is a marvel, from the chameleon-like Rob McClure as the narrator and a variety of hilarious side characters, to the cuddly tower of strength that is James Monroe Iglehart's King Arthur, we know instantly we are great hands. As another variety of characters, Alex Brightman is a hilarious scene-stealer as Sir Lancelot, the Knight of Ni and the Fench Taunter, while Nik Walker is bravado-filled sex on a stick as Sir Galahad. 

For me, Michael Urie as Sir Robin, etc. and Leslie Rodriguez Kritzer as The Lady of the Lake were the standouts among standouts. Urie is a riot of voices, mannerisms and physical comedy, each carefully doled out so as to maximize laughs without wearing out his welcome. Similarly, Kritzer gives a modulated performance, albeit as a study on vocal extremes. She takes on a smorgasbord of diva stylings from Idina Menzel's "Defying Gravity" riff to Cher to the growl-y vowels of any number pop divas. She's loving every minute of it, and the audience loves her for it right back. 

All of these people need to be back on Broadway. Stat.

Okay, so I didn't get some of the humor. And it got a little thin toward the end. And, it would have been maybe my fourth choice in the contest for Best Musical 2005. But Spamalot is solid entertainment. The Kennedy Center Broadway Center Stage series continues to delight.

📸: J. Kyler and J. Daniel