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Panic at the disco: The cast of “Once Upon a
Mattress,” including, at center, Gerardo Vallejo
as Prince Dauntless and Alyson Leigh Rosenfel as
Princess Winnifred, throw themselves into a joyous
dance called “The Spanish Panic.” Steven Pisano
Twice upon a time
Two fairy tale musicals swing into Brooklyn
COURIER L 24-7 IFE, MAR. 1-7, 2019 47
By Adam Fillmore We’re a city of two tales!
Two different fairy tales musicals flitted
into the County of Kings last weekend. In
Park Slope, the Gallery Players presented “Once Upon a
Mattress,” while in Brooklyn Heights, Theater 2020 performed
“Into the Woods.” Both shows run through March
17 — but which is the most magical show?
“Once Upon a Mattress” is a downy bit of fluff.
Based on “The Princess and the Pea,” it offers a bright
and charming story about a gung-ho princess who rescues
a prince with the power of spunk and indefatigable
dancing.
This production makes the kingdom a primary-colored
playground, with gay and straight couples among the court
color-coordinated for convenience, and the big dance
scene of “the Spanish Panic,” which uses every character
— and every popular dance move of the last 40 years — is
terrifically fun. In the role of Princess Winnifred, Alyson
Leigh Rosenfeld has enormous appeal, and she can belt
out a tune with the best when she needs too — but in too
many songs, I strained to hear the lyrics.
This production tries to update the frankly dicey
gender politics of the script, which dates from 1959, but
there’s only so far it can go, and remnants of the lascivious
original — like the king “groping his way in the dark”
are left to flounder. And a few scenes felt unmotivated,
and slowed down the fun, like the five minutes of quiet
stomping at the top of the second act, and a soft shoe that
comes from nowhere.
In contrast, “Into the Woods,” the Stephen Sondheim
mash-up of Little Red Riding Hood, Jack and the
Beanstalk, and a half-dozen other Grimm fairy tales, is
decidedly darker and more intimate, with a much smaller
cast and just a piano to provide the music.
Producer and director David Fuller sets the play in a
refugee camp “somewhere in the world,” which, honestly,
does not make even a little bit of sense. These refugees are
living in the house the Baker’s father made? And they’re
going to fancy dance parties? But the t-shirts and the wire
fences fall away once the music starts. The characters fill
the room, and the actors find the humor and the pathos
of the show.
Especially funny are Alexander Coopersmith and
John Jeffords, who double as the blowhard Princes and as
Cinderella’s evil stepsisters, sometimes switching parts
multiple times in the course of a line. The Witch (Julia
Goretsky) wrings every bit of humor out of harrying
the Baker and his Wife (Rudy Martinez and Elizabeth
Knesek) who both ground the play with real emotion.
And as the Wolf (and a half-dozen other animals) Torian
Brackett steals every scene.
Of the two, I think you can sleep on “Mattress,” and
direct your steps “Into the Woods.”
“Once Upon a Mattress” at Gallery Players (199 14th
St. between Fourth and Fifth avenues in Park Slope, (718)
595–0547, www.galleryplayers.com). Through March 17;
Fri at 7:30 pm; Sat at 2 pm and 7:30 pm; Sun at 3 pm. $25
($20 seniors and kids).
“Into The Woods” at Founders Hall at St. Francis
College (180 Remsen St. between Court and Clinton streets
in Brooklyn Heights, www.theater2020.com). Through
March 17; Thu–Sun at various times. $40 ($30 students
and seniors).
But witch way?: In the Theater 2020 production of “Into the Woods,”
the Baker’s Wife (Elizabeth Kensek), the Baker (Rudy Martinez), and the
Witch (Julia Goretsky) square off. John Robert Hoffman
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