David Patrick Kelly, Ana Gasteyer and Michael Urie (Photo by Joan Marcus)
Reviewed by Katie Buenneke
Ahmanson Theatre
Through January 5
RECOMMENDED
To understand why there’s currently a production of the 1959 musical Once Upon a Mattress playing at the Ahmanson downtown, first one must understand the purpose of a concert series in New York City.
This production, like last year’s delightful Into the Woods, started at the New York City Center’s Encores! program, which stages star-studded concert versions of musicals that premiered at least 15 years ago, and they are historically shows that are infrequently produced, much like Reprise used to do in West LA. They do this a few times a year, and two of those productions transferred to Broadway, then toured to the Ahmanson; first Into the Woods, then Once Upon a Mattress.
All of which is to say, a confluence of unusual events led to this one-hit wonder musical from the Eisenhower administration making its way to downtown L.A. during the Christmas season, featuring a fantastic orchestra and a mix of stage and screen stars. Mattress is based on the Hans Christian Anderson fairytale The Princess and the Pea, and the book, originally by Jay Thompson, Marshall Barer, and Dean Fuller, has been revised for this Encores! production by Amy Sherman-Palladino, who has perfected the art of patter as the showrunner of Gilmore Girls, The Marvelous Mrs. Maisel, and Bunheads, the latter of which starred Sutton Foster, who plays Princess Winifred here.
The show, directed by Lear deBessonet, is an utter delight, frivolous fun of the highest order. Foster is, as always, wonderful. It’s a joy to watch her dance, and her lovely, bright voice is showcased well in Mary Rodgers’ score. But it’s in physical comedy where she really shines, popping her foot up onto the shoulders of various men onstage, and shoving grapes into her mouth like she’s working in a chocolate factory on I Love Lucy (surely an Encores! production of Wildcat is in the works for a future season).
As sterling as Sutton is, it’s Michael Urie as Prince Dauntless who steals the show. Much like Ariana Grande’s Glinda in the Wicked movie, it’s a performance that’s so affected and over-the-top that it absolutely shouldn’t work, but it does, because it’s grounded in a very deep devotion to silliness. Foster and Urie are well supported by the ensemble around them, including Ana Gasteyer as the Queen, David Patrick Kelly as the King, Daniel Breaker as the Jester, Kevin del Aguila as the Wizard, Oyoyo Joi as Lady Larkin, and Ben Davis as Sir Harry.
Lorin Latarro’s choreography is wonderful, fresh and invigorating, without feeling aggressively “contemporary.” Annbritt duChateau conducts the 15-person orchestra capably, and we can hear it well thanks to Kai Harada’s sound design, which feels attuned to the specifics of the cavernous Ahmanson. Skylar Fox’s physical comedy and effects design work keeps spirits high.
The only downside to this production is that there can be too much of a good thing. As much of a treat as it is to watch artisans of the highest caliber do what they do best, they’re still working with material that is not as good as they are. The first act in particular runs quite long, clocking in around 80 minutes, which is a lot in a show that feels like it would really benefit from being 100 minutes total.
Director Lear deBessonet has made a strong impression in her two forays to Los Angeles via CTG. She’s currently the artistic director of the City Center Encores! program, but was recently named as the new A.D. for Lincoln Center Theater, which has a long history of launching musical revivals that go on to tour the U.S. Her Mattress inspires confidence that she’s the breath of fresh air that some of these older shows need to resonate with 21st century audiences.
Ahmanson Theater, 135 N Grand Ave. downtown LA. Opens Fri., Dec. 13; Tues.-Sat., 8 pm, Sat., 2 pm, Sun., 1 pm and 6:30 pm; thru Jan. 5. www.centertheatregroup.org
