Happily Ever Laughter: ‘Once Upon a Mattress’ Is Royal Comedy
If you’re anything like me, Once Upon a Mattress is one of those titles that lives somewhere in your memory like a well-loved yearbook photo: slightly blurry around the edges, but still bursting with nostalgia. I hadn’t seen this musical since high school, when it felt like a hilarious fairy tale remix with a couple of catchy tunes and a lot of harmless silliness. But seeing Birmingham Village Players’ production in 2026? It was like being reunited with an old friend who somehow got even funnier, smarter, and more charming with time.
Because here’s the truth: Once Upon a Mattress is deceptively clever. Sure, it’s a parody of The Princess and the Pea, but beneath the jokes and the bright, buoyant musical energy is something incredibly theatrical: bold character comedy, playful physical storytelling, and an ensemble-driven momentum that only works when the cast fully commits. Birmingham Village Players’ cast doesn’t just commit, they cannonball into it.
[Warning: spoilers from Village Players Once Upon a Mattress are below!]
Once Upon a Mattress is a fairy tale… with teeth
If you’ve never seen Once Upon a Mattress (or you’re like me and haven’t visited it since your school theatre days), here’s the setup: the kingdom is in chaos because Queen Aggrivain has declared that no one is allowed to marry until her son, Prince Dauntless, finds a bride. That means the entire royal court is basically trapped in romantic purgatory, and it’s clearly by design.
The Queen is determined to keep her son single by sabotaging every prospective princess with impossible tests of refinement, grace, and “worthiness.” Enter Princess Winnifred, an unapologetically bold, outspoken young woman who shows up completely unpolished and entirely unbothered. She’s not what the Queen wants — which is exactly why she might be what the kingdom needs.
What unfolds is a rapid-fire swirl of royal manipulation, budding romance, ridiculous trials, and musical comedy mischief, all leading to the legendary final test: the pea-under-twenty-mattresses torture experiment designed to prove whether Winnifred is truly “a real princess.”
A few characters you can’t look away from
Let’s talk about the beating heart of Once Upon a Mattress: Princess Winnifred. Valencia Morgan delivers a performance that is simultaneously hilarious, warm, and completely fearless. This is not a delicate princess waiting around to be chosen. Morgan’s Winnifred is bold in voice, bold in body, and bold in spirit, a comedic tornado in mismatched royal circumstances. What makes her performance stand out is that she doesn’t treat Winnifred like a punchline. Yes, she’s ridiculous and loud and unapologetically herself, but Morgan grounds her in sincerity. When she’s falling for Prince Dauntless, you believe it. When she’s frustrated by the absurdity of royal expectations, you cheer her on. She carries the show with an effortless sense of timing, especially in the more physical moments where Winnifred barrels through the world like she’s never been told “no” in her life. Vocally, she’s strong and expressive, but what really shines is her storytelling. Every lyric has intention. Every reaction is specific. In a show like this, that level of detail is the secret ingredient that turns a fun production into a truly memorable one. With this being our opening musical production of 2026, Morgan has set a high bar for the leading ladies of this season.
If Winnifred is the heart of the show, Queen Aggrivain is the delicious chaos engine, and Betsy Steinert King absolutely feasts in the role. Her Queen is the kind of villain you love to hate: controlled, smug, manipulative, and dripping with icy comedic precision. She has the air of someone who truly believes the world exists to serve her preferences, and Steinert King milks that entitlement for every laugh it’s worth. Her line delivery is razor-sharp, and her facial expressions alone could earn a standing ovation. Every time she’s onstage, the energy shifts into something tense and hilarious, because you can feel the whole room thinking: “Oh no…what is she going to do now?” And yet, she never plays the Queen as one-note evil. There’s humor in her self-seriousness. Her control is theatrical. It becomes this wonderfully oversized performance that fits the show’s tone while still feeling polished and intentional. Queen Aggrivain is a role that demands confidence, and Steinert King doesn’t just have it; she weaponizes it.
Prince Dauntless can be a tricky character to pull off because so much of his role hinges on physical storytelling and sweetness. Noah Hanahan nails the balance, giving Dauntless a genuinely lovable presence that makes the romance believable. His performance radiates kindness. Even when Dauntless is being manipulated, confused, or caught between duty and desire, Hanahan plays him with an openness that makes you root for him from the start. It’s charming, and it’s smart. And when Dauntless does get moments to fully step forward and shine, Hanahan rises to them beautifully. It’s the kind of portrayal that makes you understand why Winnifred falls for him, not because he’s “the prince,” but because he’s genuinely good.
The Jester is one of those roles that can either fade into the background or become a scene-stealing highlight. Charlie Allinder chooses option two and runs with it. Allinder’s Jester is a sparkling burst of energy, quick, sly, and wonderfully in-tune with the audience. The comedic instincts here are excellent: the timing is tight, the physicality is sharp, and the character work is big without becoming messy. In a story full of royal nonsense and theatrical exaggeration, the Jester becomes the perfect guide: keeping the momentum going, punching up transitions, and delivering laughs that feel organic and fresh. If you’re the type of theatre-goer who loves those unexpected “wait…they’re REALLY good” supporting performances, this is one of them.
Some additional featured principals include: Alonzo Luzod (King Sextimus), Shannafay Guyton (Lady Larken), Curtis Martin (Sir Harry), Max Rotenberg (Minstrel), and Nasir Naseem (Wizard).
Rounding out the cast is an energetic ensemble that helps bring this whimsical kingdom to life: Khalil Collier, Pamela Dundas, Mike Dundas, Quinn Fritz, Hannah Gutelius, Tia Hockenhull, Jayshonna Boxx, Alexis Dawson, Lauren Fuller-Neuwirth, Odera Office, Branden Omoregie, Alex Pergjoni, Shawn Polito, Haylee Richardson, and Alex Spittle.
Once Upon a Mattress is directed by Jay Kaplan, with musical direction by Curtis Rowe, choreography by Shalayla Williams, and produced by Susie Gardiner and Laura Melton. The production is also supported by Assistant Director Santi Barker, helping keep the royal chaos running smoothly both onstage and behind the scenes.
I also need to give a real backstage shoutout to the lighting design by Shania Leeh Chehab, because it quietly (and sometimes not-so-quietly) elevates the entire production. In a show like Once Upon a Mattress, lighting has to do a lot of heavy lifting, helping create a storybook atmosphere, supporting comedic beats, enhancing musical transitions, and shaping mood without dragging the tone into something too serious. Here, the lighting choices feel intentional and theatrical, supporting the storytelling rather than merely illuminating it. There’s clarity in the stage pictures, warmth in the “fairy tale” moments, and a smart use of shifts that keep the scenes feeling dynamic. It’s one of those elements you might not think about in the moment, but it’s absolutely part of why the show feels so polished and complete.
Final verdict of Birmingham Village Players’ Once Upon A Mattress
This production is exactly what winter theater should be: bright, funny, spirited, and full of performers who are clearly having the time of their lives. And if you haven’t seen Once Upon a Mattress since high school (or ever!), Birmingham Village Players is giving you the kind of version that reminds you why community theatre matters so much. It’s joyful, well-acted, and genuinely entertaining.
Don’t wait on this one, as Once Upon a Mattress only runs through the 25th! Grab your tickets, bring a friend who needs a laugh, and treat yourself to an evening of musical comedy that still sparkles decades later. Head to Birmingham Village Players’ website, buy your tickets, and go support this cast while you still can. Tickets are $30 (includes ticketing fee), and can be purchased directly through Birmingham Village Players! Have you headed to Birmingham Village Players yet to check out this musical? What’s your favorite part of the show? Let us know your thoughts @bsb.insider on social media!
