From Camp Tamiment to Broadway: ‘Once Upon a Mattress’ Returns with a Splash
In a lively preview at the Hudson Theater, audiences were in stitches watching Sutton Foster, decked out in pajamas as the energetic Princess Winnifred, performing slapstick comedy and splits on a tower of mattresses. The occasion? The much-anticipated return of Once Upon a Mattress, which officially opened Monday on Broadway.
This revival, directed by Lear deBessonet, brings back the charm of the 1959 original, composed by Mary Rodgers and written by Marshall Barer, Jay Thompson, and Dean Fuller. With an updated book by Amy Sherman-Palladino, known for The Marvelous Mrs. Maisel, the show retains its physical comedy and spirited energy while incorporating modern and gender-inclusive touches.
But before this musical became a Broadway staple, it had a humbler beginning at Camp Tamiment—a Jewish summer camp with deep ties to the socialist labor movement. Camp Tamiment, nestled in the Poconos Mountains of Pennsylvania, started in the 1920s as an educational retreat for union workers and left-wing activists. It quickly became a creative haven for many, particularly Jewish immigrants steeped in Marxist ideals.
By the 1950s, the camp had evolved into a breeding ground for Broadway talent, attracting future stars like Neil Simon and Carol Burnett. The camp’s theater, the Tamiment Playhouse, became known for its Saturday night musical revues, a tradition that helped shape the skills of up-and-coming writers, actors, and composers.
Mary Rodgers, along with her children, spent the summer of 1958 at Tamiment. It was there, in the camp’s creative atmosphere, that she collaborated with Marshall Barer to develop what would become Once Upon a Mattress. The show, a playful adaptation of “The Princess and the Pea,” was initially crafted in just 10 days to accommodate the camp’s talent pool.
The plot stays true to the classic fairy tale, with some added comedic flair. When Prince Dauntless falls for the quirky Princess Winnifred, his mother, Queen Aggravain, devises a test involving a pea hidden under a stack of mattresses to determine if Winnifred is a true princess.
Despite its origins in a niche setting, Once Upon a Mattress embodies a quintessentially Jewish-American spirit, with its themes of anti-authoritarianism and the disruptive charm of an outsider character. The show’s wit and humor resonate with anyone familiar with the Jewish immigrant experience in America, making it a uniquely “Yiddishkeit” musical, even as it appeals to a broader audience.
Fast forward to the present, and the Broadway revival is already winning over audiences. During the preview, Foster’s Winnifred drew laughs with her over-the-top antics, like pulling a stuffed raccoon from her hair and playfully smacking Prince Dauntless, played by Michael Urie. The chemistry between the actors and the multicultural cast added a fresh layer of charm to this classic musical.
For retired English teacher Patricia Yost, who traveled from Philadelphia to see the show, the experience was nothing short of delightful. Yost, who played Winnifred during her college years, found the Broadway revival to surpass all expectations, praising its inclusivity and the actors’ dynamic performances.
The journey of Once Upon a Mattress from a Jewish summer camp to Broadway highlights the enduring appeal of this quirky, heartwarming musical. Whether you’re familiar with its socialist roots or just love a good laugh, this revival is a must-see, proving that no matter where a story begins, it can find its place on the grandest stages.
