ST. GEORGE — Stepping into the St. George Opera House on Saturday night, I was filled with two opposing emotions. On the one hand, I was excited to see Once Upon A Mattress — first time for me — based on the story of The Princess and the Pea by Hans Christian Andersen with all its delightful fairytale structure, intriguing conflict and happy endings. Director Gabriel Ashton Brown has proved herself time and again as a director who knows how to pull the very best from the cast and from the story, and this was no exception. But on the other hand, I was completely annoyed by the leaflet I was handed bearing a QR code to access the playbill. Like so many other theater companies, St. George Musical Theater is moving away from the printed program.
The pronouncement that “St. George Musical Theater is going digital!” was emblazoned on the screen inside the theater, excitedly touting this new “environmentally conscious” decision after all these years. While this environmental decision has been proclaimed by main companies as of late, the reality is that digital programs is an easy way to cut down on their own printing costs, even as ticket prices are inevitably poised to rise.
This decision, while somewhat predictable and relatively innocuous to some, came as a surprise to me. After all, I have, for years, commended this theater for not sinking to the lowest common denominator and allowing the tactile and immersive theatrical experience to continue; an experience that begins with completely tucking away one’s phone in order to focus on the artistic event at hand. I had it straight from the mouth of the Former Executive Producer Bruce Bennett that as long as he was in charge, they would never go the way of the digital playbill. Well, clearly management has changed.
Also worth noting is that the theater itself was exceedingly warm – distractingly warm, especially as the evening wore on. Murmurs throughout the audience referenced this fact, so hopefully this particular issue can be addressed before the next performance, for the sake of the actors as well as the audience.
Fortunately, despite two hefty strikes, the pre-show entertainment, and the well-executed production itself, managed to turn things around. Musical numbers by four-man singing group, The Revivers, were excellent, and some funny pre-show interactions with one of the royal jesters (Maxwell Petralia) set the tone for the medieval fairytale about to unfold.
The story of Once Upon A Mattress is based on the fairytale, The Princess and the Pea, only it’s been reimagined and expanded to create a more humorous, more developed storyline thanks to the writings of Jay Thompson, Dean Fuller and Marshall Barer, with composer Mary Rodgers and lyricist Marshall Barer. At the heart of the tale is Prince Dauntless, a hapless, childlike character played remarkably well by Ryan Sant. Although he is old enough to be wed, Queen Aggravain (played superbly by Emilie Laudie) still wields an unhealthy level of input in her grown son’s life, (what’s the opposite of an Oedipus complex?), setting the stage for a showdown between the Queen and any potential bride. Complicating matters, the law of the land states that no one is allowed to marry before the prince finds his bride, making things a little uncomfortable for certain members of the kingdom, namely Lady Larken, played beautifully by Emilee Oldroyd, and the quintessential knight in shining armor, Sir Harry (played by the ever-talented David Leishman). This couple has found themselves… in a family way… and needs to get married quickly before the truth is too obvious to hide. And so, in true heroic fashion, Sir Harry sets out to find a princess for Prince Dauntless to marry, and the story ensues.
Reigning supreme as one of the standout performances of the night, Laudie’s version of Queen Aggravain effortlessly combined wit and wickedness, and had all the hallmarks of a villain you can’t help but enjoy. Her ability to deliver a lengthy monologue while barely drawing a breath was fantastic as well as funny, and her musical performance came in strong on “Sensitivity.” All the while, she was dressed to the nines.
Thanks to costume designer Staci Martin, the entire kingdom was adorned in fabulous medieval fashion, but Queen Aggravain’s two main costumes definitely rose to the top. Rich, red dresses each with a stately silhouette, her look in the first act was bringing Queen of Hearts vibes, while her second act head piece, trimmed with faux animal fur, was giving Cruella de Vil, in the best possible way.
More understated but certainly not overshadowed, King Sextimus, played by Steven Olson, was an excellent demonstration of the power of physical comedy and movement as a means of communication. Cursed to remain speechless “until the mouse attacks the hawk,” Olson’s ability to pull laughter from the crowd without ever saying a word speaks (no pun intended) to his strength as an actor, and he was clearly right for this role. His dubious interaction with Prince Dauntless on “Man to Man Talk” was just as cringe-worthy as one would expect from a birds and bees “talk” between a man who can’t speak and his son who is developmentally still very much a child. Overall they each turned in a great performance.
Occasionally joining the king in his antics, as well as translating for him, all while developing a storyline of his own, Kramer Kwalick’s lithe, acrobatic movements, easy humor, and dynamic facial expressions as the Jester were a pleasure to behold. He, along with Minstrel (Reed Laudie), who moved the story along as the narrator, added much to the overall experience. Reed Laudie’s vocal talent was evident in the “Prologue,” “Normandy,” and others, as was his musicality on the scene transitions.
And what would the tale of the Princess and the Pea be without the princess herself? Princess Winnifred, played by Katelyn Parkinson was a joy every time she entered the stage. She is a beautiful dancer, and her boundless energy on “Song of Love” along with her physical movements, particularly as she eventually settled herself onto the stack of mattresses, were fabulous. Additionally, she has a lovely singing voice, showcased on numbers like “Happily Ever After.” However, I would have liked to hear a little more power in her vocals, as much of her singing was softer than the rest of the crowd.
Throughout the production, the talent of Choreographer Chelsea Sweaney Hill was evident, put on display by the cast of talented dancers. The ballet movements in the opening scene, for example, along with Kwalick’s fancy footwork on “Very Soft Shoes” showed a breadth to Hill’s choreography style and served to enhance the musical even more.
In true fairytale fashion, this story, and the overall experience ends with a happily ever after. Well worth a visit to the St. George Opera House at 212 N. Main in St. George to enjoy it for yourself. This musical continues through June 6. For tickets and information check out www.sgmusicaltheater.com