Once Upon a Mattress

Reston Community Players

Teen reviewer: H. Poirot

Photo credit: Heather Regan

You can recognize a lady by her elegant air, but a genuine princess is exceedingly rare.

With its zany energy, excellent performances, rousing musical numbers, and elaborate visuals, Reston Community Players’ production of Once Upon A Mattress explored the dilemma of finding a suitable princess and much more. It was impossible to be bored during this show’s approximately 2-and-a-half-hour runtime, as everything kept the audience hooked, from the rapidly-changing set designs to the unrelenting energy each actor brought to their role.  

Background

Once Upon A Mattress first opened in 1959 at the off-Broadway Phoenix Theatre, before moving later that year to various Broadway theaters, and eventually settling at the St. James Theatre. Adapted from the book by Jay Thompson, Dean Fuller, and Marshall Barer (which riffed on the classic tale of the Princess and the Pea), the show ran for 470 performances, and marked the Broadway debut of a young Carol Burnett, kickstarting one of the most legendary careers in show business.

While Once Upon A Mattress’s initial run was brief, several revivals followed. A seven-month national tour took place in 1960, as did another brief Broadway revival in the late 1990s. In 2024, the show returned to Broadway 65 years after its creation for a limited run. The revival showcased a new book adaptation by Amy Sherman-Palladino, and starred actors such as Sutton Foster, Michael Urie, Nikki Renee Daniels, and Cheyenne Jackson.

Alright, now, this isn’t history class. On to the show!

Production and Performances

In Reston Community Players’ production of Once Upon A Mattress, director Steve Cairns and producer Liz Colandene put their own spin on the classic musical, infusing it with the Dixieland jazz of its New Orleans setting. The jazz music truly shone under ___’s skillful direction, and the pit band below the stage brought out the spirit of The Big Easy. In fact, the Mardi Gras atmosphere was clear from the moment I stepped into the theatre and was greeted with a beaded necklace by a reveler; this festive mood, even before the show had started, lets you know you’re in for quite the ride.

No production is complete without its cast of characters, and each one in Once Upon A Mattress was truly unique. Ethan Keller delivered a fabulous performance as Prince Dauntless, the lonely, pampered son of Queen Aggravain, his overbearing mother whose “desire” for her son to get married is held back by her own want to control him. Keller excels at the role; his innocence and boundless energy made him a joy to watch, and emphasized the “little boy” character of Dauntless. Opposite Keller was the stunning Lauren Fagan as Princess Winnifred (or “Fred,” as she is called later in the show). Fagan performed with utmost effervescence, bursting onto the scene after swimming through the castle moat and dazzling the audience with the number “Shy” (which displayed how “shy” she actually is). Her unwavering energy and soaring vocals were an invaluable asset, and Fagan delivered a humorous yet powerful performance in her role. While Winnifred, like almost every character in the show, is comedic, her desire for a better life–one with a devoted partner–struck a poignant chord. Though Winnifred’s number “Happily Ever After” comically poked fun at fairy tales such as “Cinderella” or “Snow White,” it also provided a glimpse at her tender desires. Bravo to Ms. Fagan for this captivating number!

The perfect chemistry between Keller and Fagan was epitomized in the number “Song of Love,” in which Winnifred–despite her self-proclaimed shyness–pranced about the room, repeatedly performing tasks such as lifting a weight or guzzling drinks, while Dauntless sang of why he loves her. The song was a rousing number that lifted the audience out of their seats; it captured the growing relationship between the two characters, and helped Dauntless break out of his shell at the same time, finally getting to experience true joy. 

However, this only scratches the surface of Once Upon A Mattress’s talented entourage of performers. As Queen Aggravain, Dauntless’s overbearing mother, Liz Weber delivers an expressive performance, heightened by her dramatic air and perfect comic timing. Weber’s depiction of the queen reminded me of the late, great comedienne Phyllis Diller, whose flamboyant clothes and cackling laughter made her a star. Indeed, Weber’s flowing pink cloak, long sleeves, and body movement emphasized her character’s vanity, all in what was truly an excellent performance. Equally fabulous was Jonathan Uffelman’s portrayal of the mute King Sextimus, who is cursed to never speak “until the mouse devours the hawk.” In what is clearly a very difficult role to play, Uffelman excelled, showcasing his physical talent with elaborate body language; he practically glided across the stage throughout the show, whether dancing in the joyous number “The Minstrel, the Jester, and I” or while chasing a young chambermaid down the corridor. Whenever Uffelman was onstage, he never failed to deliver a hilarious physical demonstration.

Serving as an in-show narrator was Jonathan Grygiel as the Minstrel, who carried the audience throughout the show with his vivid descriptions; he was truly a delight. The show also wouldn’t be complete without the duo of Alejandro Cahoon and Katherine Leverenz as Sir Harry and Lady Larken, whose boundless love has secretly broken the kingdom’s one rule. Cahoon and Leverenz displayed their chemistry and their remarkable singing voices in “In a Little While” and “Yesterday I Loved You,” while balancing their relationship with just the right touch of bittersweetness.

Naturally, no musical would be complete without its musical numbers, and Once Upon A Mattress has those in spades. “In a Little While,” sung by Sir Harry and Lady Larken, emphasizes the hopes members of the palace have of growing their families, and their frustrations at the queen’s rigid rules. “Sensitivity,” performed by the queen herself, is a testament to her vanity, as she ponders over how to test Winnifred while speaking to the wizard, portrayed by Andrew Harasty, who was so devoted to his queen he provided a comical place for her to rest. And I couldn’t help but feel delighted by “Quiet,” in which the ensemble chanted of the queen’s insistence of maintaining quiet at night. The repetitive chorus built up an inexorable rhythm, and I had to keep myself from joining in as the cast repeated themselves. 

Technical Elements

A pivotal element of Once Upon A Mattress is its visual design. The set design for the show was just about perfect; it constantly shifted, and each element was seamlessly whisked away by the run crew at the start of a scene change. Set designs ranged from a living room adorned with a portrait of Prince Dauntless to a dazzling ballroom to a nighttime staircase. The sets were complicated yet not overly distracting, and added to the scene and characters rather than taking away from them. For example, the sets were adorned with color, matching the many purples and greens of the characters’ wardrobe, and bringing out the New Orleans theme beautifully.

Equally fabulous was Eva Hansen’s costume design, which truly brought out the flamboyance of New Orleans. Queen Aggravain sported a long, flowing pink nightgown, emphasizing her vanity and obsession with societal stature. Prince Dauntless, as the overprotected boy he is, wore a purple and white sweater-vest and thick glasses, his lightly tousled hair adding to the adolescent effect. Draping King Sextimus was a black tweed jacket and top hat, lending a sort of Mad Hatter feel to his character, making one wonder if he is truly mad himself. Andrew Harasty’s Wizard sported one of my favorite costumes: his top hat, black-and-maroon jacket, and thick, dark eyeliner gave him an air of elegant piracy. I commend Hansen for the work she put into each one of her characteristically detailed costumes.

Who is it for?

Those looking for an entertaining, up-tempo production should certainly check out Once Upon A Mattress. Director Steve Cairns has put so much effort into each element of the show, and the performances, music, and visuals all make this evident! Despite some slight, occasional innuendo, the musical is lighthearted and appropriate for most audiences. I would personally recommend the show for ages 9 and up, but younger audience members should be able to follow the trajectory of the plot.   

Once Upon A Mattress runs until November 7 at the Leila Gordon Theatre at Reston Community Center. Visit restonplayers.org for tickets and more information.