SMITHFIELD — Four Seasons Theatre Company has outdone themselves with a delightful rendition of Once Upon a Mattress, with music by Mary Rodgers, lyrics by Marshall Barer and book by Jay Thompson, Dean Fuller, and Marshall Barer. This classic twisted fairytale about the princess and the pea takes on a whimsical air when presented at the Sky View Auditorium under director Jon Rash. From the vibrant costumes and pea-inspired set design to the brassy vocals of the leading princess, it is a show to entertain all ages.
Once Upon a Mattress begins with retelling the original story of the princess and the pea, before quickly unveiling what actually happened. Prince Dauntless is desperate to marry a princess, but no one is good enough for his mother Queen Aggravain, who devises devilish tests destined to make the courting princesses fail. Only Winifred, a princess from a faraway swamp, seems up to the challenge. But is this rough-around-the-edges princess refined enough to notice one tiny pea underneath twenty soft mattresses?
Scenic Design/Construction: Danny Rash and Lineset Design and Fabrication.
The incredible set design is worth a double-take, then a triple-take. Danny Rash, owner and founder of Lineset Design and Fabrication LLC, created a masterpiece. It gives off a retro Disneyland theme, with bright colors and classic shapes. A smiling sun and smirking moon grace alternate sides of the stage, rising and lowering with the passage of time. The enchanting cutout mountains feature a sparkling tinsel river catching the light, before leading to the main courtyard. Just above the water is the main stage area, which rests at a tilted angle upon two oversized peas. A closer look reveals the iconic vegetable hidden throughout the set design. Repeating patterns of diamonds line the vaulted stage area with a series of peas at the center. Peas hide among the musical’s title, around the front of the house, on the center of the moveable changing curtains, and at the top of the nightingale’s cage.
Mady Smith played the tomboy princess Winifred with a bold confidence that was certainly earned. Smith’s body language was casual and comfortable as she moved about the space. There was no trace of embarrassment or hesitation with her over-the-top gestures, which fit the role perfectly. She flung dripping vines away from her body with gusto after Winnifred “swam the moat”, stuck her ear to the ground and butt in the air when listening for the swamp, and was delightful to watch as she writhed around on the stack of mattresses, hopelessly trying to sleep. Smith’s vocals were equally enchanting, with a rich, brassy voice that carried across the room. She certainly wasn’t “Shy” about singing her heart out, and it was lovely to hear.
Tiffany Bean played Lady Larken with a no less enthralling higher, sweeter vocal tone. Her crisp soprano made you love her more today than you did yesterday. Sarah McKenna played Queen Aggravain, and her voice shone not only with her singing, but with the way she handled the dialogue. She uses pauses, accents, intonation, and inflection to bring out the humor inherent in the queen’s dialogue.
Danny Rash as King Sextimus was a sight to behold, as the king is mute for the majority of the musical and uses miming to communicate. He maintained a hunched figure while ecstatically waving his arms and legs around to show his meaning. Once Rash established a motion indicating a certain word, he stuck with the motion throughout which is impressive. It made it easier to track what he was “saying” and added a humorous element, such as when he gave a less-than-flattering impersonation of the queen. Jeremiah Olsen, who played Prince Dauntless, gave a notable performance, using his boyish mannerisms showing us a son who had been under his mother’s thumb for too long.
Costuming couple Kody and Kim Rash extended a technicolor storybook theme to the cast’s attire. The ensemble featured bold solid colors and striking silhouettes with their cone hats and fascinators. Queen Aggravain wore an iridescent red and green gown with striped black and white underskirts and a crown making her unmistakable and felt reminiscent of the Queen of Hearts. The King’s costume featured an elaborate yellow and orange patterned outfit with a fur shawl creating an air of nobility. The lovers Sir Harry (played by Parker Beus) and Lady Larken (played by Tiffany Bean) wore outfits in the same light blue color scheme which separated them from others but also clearly displayed their ties to one another. Winnifred wore a red and green ball gown which flowed and gave her a captivating figure (when it wasn’t tucked into her bloomers or flung about as she danced). Other notable costumes included the magician with a flashy cape, the jester with a jangling cap, and the nightingale with a feathered headdress.
Choreography was handled by Melisa Jensen, Rachel Fillingim, and Katie Packard. The use of spacing, depth, and levels kept the entire stage active and intriguing to watch, and the cast showed an exuberance for every number. Several of the songs featured mimicry and exaggerated movements. These are fun to watch such as during “Shy” when a large group of ensemble members are pulled this way and that as Smith tugs them like fish on a line. Cameron Gleed, as the jester, takes up the entire stage during much of “Very Soft Shoes” and despite being only one man, he fills the space both physically and emotionally. But the best number was easily “Song of Love” during which Smith and Olsen showcase uninhibited flexibility and pizazz as they race around one another and into each other’s arms. They made distinct physical choices and interacted smoothly with one another.
Lighting design was handled by Beth Dewaal in a simple, elegant manner. There were lights behind the mountain props, which created the illusion of sunset and sunrise as the musical progressed. There was a bit of a hiccup with the lighting above the audience on the right side of the auditorium, occasionally a light would flicker on for a moment, giving the distracting impression of a camera flash going off.
Director Jon Rash and stage manager Tina Chambers put on a a fun and lighthearted show in a way the world sorely needs right now. It was a delightful break from reality and fortified my belief we can all overcome the obstacles placed in our way. I cannot recommend the Four Season’s rendition of Once Upon a Mattress enough.
MORE INFO: ONCE UPON A MATTRESS is currently playing at Sky View Auditorium (520 South 250 East, Smithfield, Utah). Performances are held at 7:00 PM on select evenings, through October 3, 2026. Tickets typically range from $12 to $20. For the most up-to-date schedule, performance details, and official ticketing, visit the Four Seasons Theatre Company website: https://fourseasonstheatre.org/
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