An Opening for a Princess

Once Upon a Mattress – Theo Ubique

Those of us who were fortunate enough to have a literature-based childhood grew up cutting our teeth on folk and fairy tales. They were a big part of our lives and colored our imaginations, often providing a stimulus for our playtime and fantasy worlds. There were so many versions of each story and it was always fun to hear or read each rendition. When Walt Disney began creating his own animated adaptations of these fairy tales they usually became THE undisputed version, because everyone went to the movie theaters to see them.

But in the late 1950’s, Mary Rodgers, the daughter of composer Richard Rodgers and mother of composer-lyricist Adam Guettel, began a new career, writing theatre music. She created an original, more adult version of Hans Christian Andersen’s story of “The Princess and the Pea.” She worked with collaborators Marshall Barer (lyricist), and Barer, Jay Thompson and Dean Fuller (book) to write a full-length musical comedy that was like no other. The show opened on Broadway in 1959, where it became an instant hit. It’s also noteworthy because this musical introduced the world to beloved comedian and belting songstress, Carol Burnett, who originated the leading role of Princess Winnifred. 

The show was extremely popular and went on to earn two Tony nominations. After its long New York run, “…Mattress” eventually became a staple with high school, college and community theatre companies. Later came a National Tour and three TV adaptations of the musical. New York eventually saw two revivals, which tweaked the book and orchestrations a bit. The first was a 1996 production, that starred Sarah Jessica Parker as the Princess; and then a 2015 Off-Broadway staging featuring Jackie Hoffman in the leading role.

Lately it seems like this delightful musical comedy has been all but forgotten. Smaller theatrical venues are choosing to produce more contemporary shows, in order to lure audiences. One of the reasons to see this very funny musical is that it seems brand new again. Many audiences will never have seen it before, although those of us who’ve made theatre our lives will know it well. Fred Anzevino’s decision to include this charming show as part of his post-pandemic season was brilliant. But the other reason is a delicious combination of the superb direction by Landree Fleming, the intricate choreography by Jenna Schoppe, the faithful musical direction and accompaniment by the incomparable Jeremy Ramey and his five-member orchestra, and possibly the most unconventional casting of this show that has ever been seen.
The story isn’t all that complicated, but it provides just enough comedy and conflict to keep the crowd laughing and intrigued. In a far-off medieval kingdom, a Poet (who was called the Minstrel in the original script) sings a ballad that details the story of the Princess and the Pea. She then tells us that the tale we all know isn’t accurate and leaves out many details. The Poet knows this because she was there at the time. Patterned after the TV quiz shows of the 1950’s, we learn at the start that there’s “An opening for a Princess.” 
Young Prince Dauntless (the Drab), along with everyone else in the monarchy, is hoping that the current contestant, Princess #12, will pass the Queen’s test. If this happens, Dauntless will get his bride and the rest of the kingdom will finally be allowed to marry. His domineering mother, Queen Aggravain, makes a big show of screening every young lady vying for her son. However, since she keeps Dauntless on such a tight leash, the Queen obviously doesn’t have any intention of relenting. 

There’s a couple other plot twists. The castle has a curse on it, whereby the King (Sextimus the Silent) has been made mute, and can only communicate through charades. It’s said that the curse will be lifted when “the mouse devours the hawk,” but no one understands this maxim. Also, the kingdom’s campus couple, Lady Larkin and Sir Harry, are in love and hoping they’ll soon be allowed to marry, especially since Larkin has become pregnant. If a princess isn’t found very soon, she’ll have to leave the kingdom in shame.

Harry sets off on a mission to find a princess who he’s certain will pass any test devised by the Queen and her bumbling Wizard accomplice. When Winnifred arrives, she’s so eager to compete for Dauntless’ hand that she brazenly swims the moat to get into the castle. When Lady Larkin mistakes the Princess for a chambermaid, the couple quarrels over her error, unfortunate words are exchanged, and soon Lady Larkin’s decided to breakup with Harry and run away. Rest assured, after unsuccessfully trying to fall asleep on a bed piled high with 20 downy mattresses, and a pea beneath them, Winnifred outsmarts Queen Aggravain, wins the Prince and everyone lives happily ever after.

This production, true to most every Theo Ubique show, sports an impressive cast of actor/singers. Landree Fleming, one of Chicago’s finest, most genuinely gifted musical comedy actresses, has thoughtfully and artistically shaped and guided this production. Ms Fleming’s discovered every comedic moment in the script and has showcased them through the versatility of her talented cast. She’s ably supported by Jeremy Ramey’s exquisite musical direction, along with his expert conducting skills. The five members of the orchestra, perched high above the castle setting, designed by Mara Ishihara Zinky, give Ms Rodgers’ score their finest interpretation. Uriel Gomez costumes the production with a modern-medieval look, making every actor look great. And Jenna Schoppe’s choreography adds another element of fun and magic to the show, particularly in “The Spanish Panic.”

There aren’t enough adjectives to describe the musical and dramatic talent of this diverse cast. Sonia Goldberg is sensational as Princess Winnifred. I’m quite sure this actor’s pitch perfect belt can be heard all the way out onto Howard Street. And Ms Goldberg mines every ounce of comedy from her role, giving Winnifred a modicum of honest sincerity when its needed. August Forman is perfection as Prince Dauntless. Having appeared in so many area productions, they stand out here as a handsome, multitalented star. Hopefully we’ll be seeing more of August after their Theo Ubique debut.

Also making her Theo Ubique debut, Anne Sheridan Smith fulfills every requirement necessary in making Queen Aggravain as aggravating and overbearing as possible. She’s been enjoyed on stages all over Chicago, most notably at Windy City Playhouse, in their immersive production of “Southern Gothic;” and she dazzled audiences every night in Victory Gardens’ production of “Fun Home.” Handsome and multi-gifted Andrew Fortman, who most recently caused audiences to swoon playing another father in “Mamma Mia,” at Music Theater Works, is brilliant here as King Sextimus. When he’s not chasing women all over the castle, his character is trying to express himself through his hilarious improvised sign language.

The beautiful, groundbreaking coupling of Parker Guidry, as a gorgeous, imaginatively-cast Lady Larkin—and handsome, hunky Michael Metcalf, as a virile, gravel-throated matinee idol Sir Harry—is a union made in Heaven. Their chemistry feels honest and realistic and their delightful duets are pure harmonic bliss. As the Jester, Michael M. Ashford is lots of fun and shows off his skills as a hoofer, dancing and singing “Very Soft Shoes.” And as the Poet, the wonderful Jasmine Lacy Young hits all the right notes once again, as she did in Theo’s “8-Track.” Her standout number is the show’s Prologue, “Many Moons Ago,” although she leads every choral number in which she’s involved. J Alan, who nicely portrays the Wizard, wears many hats here, as the musical’s dance captain and assistant choreographer. And the hard-working ensemble who fill out the cast and support every musical number include Sarah J. Patin (who also plays Princess #12), Nathe Rowbotham, Peter Ruger and Laura Sportiello. There’s not a weak link in this entire company.

Kudos go to Artistic Director Fred Anzevino for taking a chance with a show that some seasoned audience members might consider an old chestnut, while other younger patrons will wonder why they’re just discovering this delightful musical for the first time. Cheers to director Landree Fleming for tapping into her skill, creativity and comic instincts to make this production so fresh and wildly wonderful. And I doff my crown to Christopher Pazdernik for his inspired casting of this infectious, toe-tapping musical comedy. Altogether, thanks to everyone involved, this is a beautiful addition to Theo Ubique’s long line of excellent past productions and a peach of a way to herald in Chicago’s Spring Season. 

Highly Recommended

Reviewed by Colin Douglas

Presented March 11-May 1 by Theo Ubique Cabaret Theatre, 721 Howard Street, Evanston, IL.

Tickets are available by calling 773-939-4101 or by going to www.theo-u.com.