How the creator of ‘Gilmore Girls’ reinvented ‘Once Upon a Mattress’ for a new generation

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As a seasoned theater artist with a rich background in both writing and performance, I find this musical to be a refreshing, bold, and long-overdue addition to the Broadway scene. With my own journey as a writer and performer informing every line and character, it’s clear that “Mattress” is a labor of love that resonates deeply with today’s audiences.

Amy Sherman-Palladino, the acclaimed creator of shows like “Gilmore Girls,” “The Marvelous Mrs. Maisel,” and “Bunheads,” was prompted to put aside her current tasks by a message from Sutton Foster. The Tony-winning actor was helming a new adaptation of “Once Upon a Mattress,” a musical interpretation of “The Princess and the Pea.” Notably, this production role had been previously held by Carol Burnett and Sarah Jessica Parker. With such a connection to Foster, one might wonder if Sherman-Palladino would consider revising the play’s script?

“Sutton Foster’s brief engagement for Encores! was unexpectedly transformed into a Broadway debut by Amy Sherman-Palladino, as the play – which tells the story of a queen setting impossible tests to discourage her son’s potential brides and a swamp princess taking up the challenge – has been performing for four months at New York’s Hudson Theatre before transferring to Los Angeles’ Ahmanson Theatre in December.”

As a movie enthusiast, I recently had the pleasure of attending the resurgence of a timeless classic, skillfully directed by Lear deBessonet, who has previously graced us with “Into the Woods.” This production boasts an exceptional ensemble cast that includes Michael Urie, Ana Gasteyer, Will Chase, Brooks Ashmanskas, Daniel Breaker, Nikki Renée Daniels, and David Patrick Kelly.

Discussing her busy schedule, which includes both rehearsing for the play “Once Upon a Mattress” and working on her Prime Video ballet series titled “Étoile,” the former showrunner-turned-librettist opened up about the challenge of rewriting a musical’s script in a short period, removing misogynistic elements from the fairy tale, and reviving physical comedians on Broadway. This conversation has been abridged and condensed for clarity.

Have you ever pondered about the decision you made early in your career, where you chose between writing for “Roseanne” and auditioning for “Cats”? Since then, you’ve been known for casting stage actors and incorporating musical elements into your television productions. Now that you’re working on a theater project, what emotions does this experience evoke in you?

It’s absolutely surreal. I stumbled upon an amazing turn of events when Sutton Foster, someone special in my life, simply sent a single text message – our negotiation was minimal, but I held firm – that has set off a chain reaction, and now I find myself being a small piece of a world I deeply respect and appreciate. How is it that my role involves me sitting here, listening to these talented individuals harmonize together like this?

Had you seen the musical before?

I had no prior encounter with it, but I was familiar with certain pieces of music – “Shy” and “Happily Ever After”. I believe I might have caught a broadcast of it once. However, what I was truly acquainted with was Carol Burnett. Few women possess the comedy, that powerful voice, and stage presence like she does – aside from this young actress named Sutton Foster who’s been making waves.

Sutton and “Mattress,” that’s perfect casting. The first thing she said to me was, “I want to be so gross, I want to be as disgusting as possible, I want to be this true Swamp Thing that crawled out of the muck.” And yet you fall in love with her, even with s— in her hair and leeches on her back. Nobody finds moments of humanity in insanity like Sutton Foster, and in this she’s certainly at her most insane.

When you first signed onto the rewrite, was Broadway in the conversation?

As a film enthusiast, I initially believed that the play we were working on was exclusively for rehearsals at City Center, running for about four weeks. Little did I know that this project would be making its way to Broadway! Initially, I had just two weeks to craft some jokes and fight tooth and nail for one particular joke, which I thought added a touch of classlessness – but hey, even King Lear could use a good laugh, right?

As a movie reviewer, I’ve often seen productions take years to make their way to Broadway, with numerous changes along the way. But this film was different; it seemed as if it had been in development for an eternity, yet it was surprisingly swift. The reason for this rapid progression might be due to the exceptional chemistry between Michael Urie and Sutton, who embodied Prince Dauntless and Princess Winnifred with such ease and familiarity. From the very first day of filming, they were perfectly in sync, speaking each other’s language and portraying an unusual bond that was nothing short of enchanting. It was as if they had been rehearsing together for months, creating a magical experience on screen that left me captivated.

I managed to shove a few more things in there that I had really, really wanted to, but in my dream of dreams, we would have had a proper time frame to really dig deep. But for me, nothing is ever done. I look at the “Gilmore” pilot, and I’m like, can I rewrite that? I remember when they sold “Gilmore” to Netflix, I said, “Can I remix the whole thing? Because I was never really happy with the sound on it.” And they’re like, “Yeah, can you not call us again? It’s a done deal, lady, you’ve got to move on.”

Could you tell me your approach for revising the book written by Jay Thompson, Dean Fuller, and Marshall Barer, given the tight deadline you had to work with?

Managing to please everyone proved challenging due to the diverse adaptations of this show throughout its existence. The layout, characters, and definitive design have undergone multiple transformations, making it difficult to adhere to a single guideline. I’m working with production drafts and coordinating with three separate estates, as the originators are no longer available to clarify obscure stage directions. Meanwhile, I’m in charge of production for the upcoming TV series “Étoile,” where my assistant directors would often get confused by the “Mattress” script, questioning about characters like Winnifred. Despite the chaos, I had to ensure everything remained organized and clear.

I penned a movie adaptation of “Gypsy” that hasn’t been released yet, but I remain optimistic. One memorable day, I found myself on the phone with Stephen Sondheim, exchanging kind words. He then said, “I have some thoughts, if you’re interested.” Naturally, I replied, “Absolutely!” To which he responded, “I want to share them quickly, as page one…” The next 15 hours were simply magical, making it the most memorable 15 hours of my life.

What you’re aiming for is to swiftly navigate through tasks, but this particular project wasn’t suited for such rapid pace. Despite its incredible speed, it didn’t allow for completing all the desired tasks at that speed.

What’s the hardest thing about updating a text tied to multiple estates?

Everyone is guarding their own reputation, which can make it challenging as you often find yourself working under the rules set by others who dictate your future. It’s sometimes helpful to adapt to these circumstances, like on the “Gilmore Girls” set where we barely had any money. Shows like “The Drew Carey Show” would occasionally share their leftover water and birthday cake with us since they were filmed in Connecticut while we were in Burbank, which never snows.

Crafting a world, a story, and seven seasons’ worth of a journey from scratch – this rigorous, stripped-down training readies you for any challenge. My role is to engage in battles I deem significant, and persistently so, ensuring the cast feels empowered by the content and enabling Lear to create something we can all be proud of.

In my naivety, I diligently reviewed a script for a television show, making adjustments that seemed necessary to me – altering spacing, moving commas, and so forth. Unbeknownst to me, these changes required extensive revisions by the estates, making the task far more challenging than it needed to be. I’m deeply sorry, Lear, for any inconvenience caused; my intentions were pure, and it was an oversight on my part.

In this popular musical, there were elements of misogyny that couldn’t be overlooked. When revising it for a modern audience, what strategies did you employ?

As someone who has spent much of my life observing and participating in various cultures, I find it refreshing to see the evolution of women’s stories and narratives. Growing up, the idea that a woman’s ultimate goal was to marry a prince seemed like a limiting and unrealistic expectation. However, I am glad to see that this notion is no longer the universal female journey as depicted in modern fairy tales. It’s empowering to witness the diversity of experiences and aspirations for women, and I believe that this shift reflects progress towards gender equality and the recognition of individuality.

Our focus was on delving deeper into Winnifred’s innocent perspective, a woman who imagines the ideal ‘happily ever after’ as a time when one can perform gymnastics and climb trees. However, it’s towards the end of her passionate discourse where she expresses, “You get a companion” — someone to join you on this journey of life. She yearns for more than admiration, seeking instead a partner to share experiences with, to laugh alongside, someone who appreciates her quirks and idiosyncrasies that define her individuality, and acknowledges, “I find you extraordinary.”

The voyage of discovering and being cherished for one’s inherent worth, longing to find a place where you fit in and be recognized, regardless of humble beginnings – this is the tale of the princess-like transformation.

In simpler terms, we have a musical with a woman as the lead, featuring wide, slapstick humor – a genre not commonly found on Broadway recently. What are your thoughts about how this production might resonate with modern theatergoers who purchase tickets?

It appears to me that we all agree that the show doesn’t serve as a platform for learning lessons. Instead, those lessons must be acquired elsewhere. If I may elaborate a bit more profoundly, it’s about discovering your unique self and finding someone who appreciates that individuality. However, it’s essential to remember that “Oh, Mary!” is primarily designed for entertainment. The only thing you’ll take away from it is an hour and twenty minutes of hearty laughter, leaving you feeling uplifted.

Broadway shines brightest when it encompasses a wide range of performances: those that evoke strong emotions or shift your perspective, even bringing tears to your eyes, as well as shows that leave you questioning yourself. Occasionally, walking away from a performance feeling emotionally drained is simply part of the theater’s unique charm.

There’s a special corner in the theater where, temporarily, you can forget about your child’s silence, the chaos of politics, and the world’s troubles. Though they still exist when you step back out, the brief moments of joy experienced there can make facing another day and its challenges more bearable. So why not spend a couple of hours in a delightful sanctuary?

Are negotiations underway to have your version be the licensable “Mattress” moving forward?

There have been talks concerning the topic, but it seems they were hesitant to make that move at present. To me, this implies I need to demonstrate its worth since, if it wins over the audience, perhaps they’ll consider doing this version. If not, then maybe they’re thinking, “As long as she sings ‘Shy,’ I’m content.”

As a seasoned professional with years of experience under my belt, I can confidently say that there are always more pressing matters demanding my attention than fretting over one particular issue. Life is full of challenges and uncertainties, and it’s essential to maintain focus on what truly matters. But let me tell you, if given the opportunity, I would jump at the chance to be part of a project that I hold dear, like this beloved show. If they’d let me, I’d take another swing at it, and if luck is on my side, another pass after that. The thrill of working on something meaningful and close to my heart is simply unparalleled.

The items bestowed upon me by Sutton and Lear serve as a cherished gift. I wholeheartedly accept this gift and strive to honor their trust. At present, my focus lies on what I can manage. Yet, I yearn for additional theater experiences, as there’s no substitute for its exhilaration. The unpredictability of the stage makes it thrilling – a realm not meant for timid souls. However, I am drawn to the challenges that are downright terrifying, and theater offers this in the most enticing manner possible.

What advice would you give to another writer tasked with updating a classic musical?

In my experience, whenever I receive feedback on my recent work, I find it helpful to have a stash of Valium handy. When the need arises, I slightly increase my dosage to help me navigate through the situation more smoothly. This, in turn, allows me to maintain composure and tackle the task at hand with greater ease.

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2024-08-05 13:32