An Open Access Review Journal Encouraging Critical Engagement with the Continuing Process of Inventing the Middle Ages

September 3, 2024

Decameron -- Netflix 2024

"Oh, Giovanni, where are you, Giovanni?” A Review of Netflix’s Eight-part Adaption of Giovanni Boccaccio’s The Decameron                                                                                                                Reviewed by:                                                                                      Kevin J. Harty                                                                                      La Salle University                                                              harty@lasalle.edu
One of the masterpieces of Renaissance Italian literature, Boccaccio’s The Decameron is an ars narrativa.  It offers any adapter or screenwriter an overabundance of source materials—a fact that seems to have escaped those responsible for this eight-part Netflix Summer 2024 series. In the series’ fourteenth-century source, ten nobles—seven women and three men—fleeing plague-ridden Florence, seek shelter in a villa in Fiesole where, over the course of two weeks, they tell 100 tales to pass the time and amuse and enlighten themselves.  Both immensely popular and immensely controversial in its own day, the Decameron has had a remarkable afterlife.  From the start, the Catholic Church took a dim view of the work—too many tales with priapic priests, fornicating friars, and nymphomaniac nuns—not to mention lascivious lay people and sexually exploited servants.  The Decameron was supposedly among the titles burned in Savonarola’s (in)famous “bonfire of vanities.”  It ended up on the Index Librorum Prohibitorum several times, even after some judicious ecclesiastical editing that replaced the less-than-chaste clergy with additional lascivious lay people.  

Outside ecclesiastical circles, The Decameron has remained immensely influential.  Chaucer borrowed from it, as did Lope de Vega, Shakespeare, Middleton, Martin Luther, Molière, Swift, Keats, Shelley, Tennyson—the list goes on and on. The story of patient Griselda has proven especially intriguing, adapted by Chaucer (perhaps by way of Petrarch), Lope de Vega, Apostolo Zeno in an early eighteenth-century opera with multiple scores, and, most recently, Caryl Churchill in her 1982 play Top Girls. Translations of The Decameron in part or whole into English began in the sixteenth century.  More encompassing adaptations include Marguerite de Navarre's sixteenth-century Heptaméron and, most recently and perhaps not surprisingly, multiple literary anthologies commissioned in response to the shutdowns occasioned by the ongoing COVID pandemic, such as those sponsored by the State Theatre of Australia, The New York Times Magazine, and the San Diego Decameron Project.

With mixed results, filmmakers have embraced The Decameron.  Two Hollywood ventures, (one in 1924 and one in 1953) entitled Decameron Nights, were based on tales by Boccaccio, who in the latter was played by Louis Jourdan.  Pasolini’s 1971 The Decameron, with the director playing Boccaccio, presents nine tales and a rather intriguing complex critical reading of its source.  Two romantic comedies, Virgin Territory (2007) and The Little Hours (2017) nod to Boccaccio’s work, while the 2015 film Wondrous Bocaccio is loosely based on four tales from The Decameron

All of which brings us to Netflix’s eight-episode series The Decameron, billed as the “comic sexual romp” of the summer—except that it isn’t very funny, it has too little sex, and it is even more lacking in “romp.”
The basic plot is there.  Nobles, sometimes with servants in tow, flee plague-ridden Florence and other towns in Tuscany for the Villa Santa, each with more of an agenda than simply escaping death.  The villa itself is a prize to be won by marriage or inheritance or force.  None of the characters is at all sympathetic.  They are all caricatures.

Pampinea (Zosia Mamet) is a spoiled harpy intent on marrying her cousin, the always absent Visconte Leonardo, who owns the villa.  The Visconte, it turns out, is absent for a good reason: he has already died from the plague before episode one even begins—a fact not known to any of his guests until much later in the series.  Accompanying Pampinea is her doormat of a servant Misia (Saoirse-Monica Jackson), who spends the whole series looking for validation and love in all the wrong places. Rivaling Pampinea as the series’ most annoying character—though, truth be told, all the series’ characters are annoying in their own ways—is Filomena (Jessica Plummer), whose servant Licisca (Tanya Reynolds) at least has a bit more spine than Misia, and who for a while passes herself off as her mistress who finds herself in turn mistaken for her servant.  That the Netflix series is more interested in the dynamics between servants and masters than in Boccaccio is less than subtly signaled when, early in episode one, the soundtrack of appropriately period music abruptly switches to Depeche Mode’s “Master and Servant.”

Also in residence at Villa Santa is Tindaro (Douggie McMeekin), a wealthy hypochondriac, who has arrived with his quack of a personal physician Dioneo (Amar Chadha-Patel) in tow.  Rounding out the guest list is Panfilo (Karan Gill), another of the Visconte’s cousins who is down on his luck and, therefore, keen to lay claim to the villa, and his, at least initially, overly pious wife Neifile (Lou Gala).  Presiding over this whole circus is Sirisco (Tony Hale), literally the series’ magister ludi, who is steward of Villa Santa, and who is sometimes assisted, and sometimes thwarted, by the villa’s cook Stratilia (Leila Farzad), who has her own claim to the villa through her son, Jacapo (Aston Wray), who was fathered by the Visconte.

Each episode is basically comprised of internecine scheming among the principals—all of whom want to lay claim to the villa, or attempt to assist others to do so.  Sometimes someone will briefly leave the villa, only to return none the nicer or the wiser than when they left. Sometimes outsiders—including the bandit Ruggerio (Fares Fares), who is, of course, yet another of the Visconte’s cousins, and a Savonarola-like friar and his band of brigands—will show up and join the original guests.  Too often, the safe haven proves anything but safe, as plague also becomes an unwelcome guest and takes its toll on the assemblage. From episode to episode, the plot thickens, but, in doing so, the plot of the series also moves farther and farther away from Boccaccio.  Given all their running around, the characters haven’t a moment to spare to tell a tale. Instead, the series turns Boccaccio’s work into a period costume soap opera.  Only in the last minutes of the final episode do viewers bump into Boccaccio.  The surviving principals flee the plague-infested villa—now under the control of the friar and his brigands—and settle into an unidentified pastoral retreat.  As they sit in a circle on the ground, Sirisco proposes to tell a tale.  Knowing viewers will recognize that the tale, which he only begins to tell before the final credits roll, is that of Griselda, whose legendary patience viewers might more than emulate and still never see much from Boccaccio in this summer’s Netflix (more than very loose) adaptation of The Decameron.

The Decameron, created, adapted and produced by Kathleen Jordan, for Netflix; eight episodes, loosely based on Giovanni Boccaccio’s fourteenth-century work, The Decameron; available for streaming on Netflix as of 25 July 2024.




August 11, 2024

Douglas Gray: From Fingal's Cave to Camelot, ed. J. Bliss

Douglas Gray, From Fingal’s Cave to Camelot, ed. Jane Bliss. Oxford, UK: Independent Publishing Network, 2020. https://cheerful-bb1685.wordpress.com/ £17.


Reviewed by Jane Toswell

University of Western Ontario

mjtoswel@uwo.ca



After his retirement as Tolkien Professor of Middle English in the University of Oxford, Douglas Gray (1930-2017) turned his considerable learning and intelligence to the writing of books about medieval literature, synthesizing his own deep and rich investigations into the readers and writers who prepared those texts, and into those who received and transformed medieval texts and ideas in their own day.  At his death he left two near-complete manuscripts, an anthology and this book, lovingly assembled and with scholarly apparatus added by Jane Bliss, with help offered (as she puts it) by numerous other Oxford medievalists chasing down particularly tricky references.  


The book itself offers a genial study of the reception history of the Middle Ages in English, beginning with the visit in August 1829 of Felix Mendelssohn to Fingal’s Cave on the isle of Staffa west of Scotland.  Gray points to the procession of nineteenth-century figures to this musical cave, traceable to the visit of Joseph Banks (the scientist who traveled with Captain Cook) and his account of that visit in a 1772 publication.  He uses these details to point to his opening themes about the opposed but also interlocking attitudes taken by scholars and antiquarians on the one hand, and poets and creative writers on the other.   His thesis is that these two approaches, the erudite study and the passionate engagement, have co-existed fruitfully in this field, with its rediscoveries and its continuities, as different generations encountered medieval literature and responded to it.  I’ll note in passing that although the book reveals Gray’s comprehensive knowledge of several European languages and literatures, the focus is entirely (and without conscious statement) on the post-medieval reception (almost entirely by men) of what we would today call literary texts written in the English vernacular in the medieval period.  That is to say, the book begins with a significant number of underlying assumptions that remain unquestioned.


Part I discusses the beginnings of this journey, starting in the fifteenth century with the use of medieval authors and their availability in early modern materials.  Gray points to various uses of Gower, Lydgate, and Langland, but notes that “Chaucer is the dominant presence” (11). The focus here tends to be on continuities with the Middle Ages more than rediscovery, although as the opening indicates there are also echoes and new developments.  The argument particularly highlights the continuity of romances, retold in chapbooks and even single sheets, greatly influencing writers such as Edmund Spenser and John Bunyan.  Sir John Mandeville’s Travels had a particularly active afterlife, even being reworked and reprinted until the nineteenth century.  The most fascinating echoes, however, belong to the drama and the corpus of songs, lyrics, and carols, two genres which Gray knows very well.  The chapter points to many medieval motifs, figures, and concerns in Shakespeare, continuing performances of miracle and mystery plays, and even to possible elements drawn from the lost tradition of popular drama.  It analyses several examples of carols and lyrics that are or seem to be medieval in their language and expression, and in their particular approach to Christianity.  The last section of the chapter starts with religious literature, pointing out the similarities between Catholic and Protestant writings, before turning to the early antiquaries for their role in keeping medieval materials safe, and to some extent studied.  Gray notes that figures such as John Aubrey, John Leland, and Robert Cotton were not interested in literature, but their activities in the service of language, history and law meant that literary texts survived for their utility on other fronts.


Chapter two begins with a survey of Continental antiquaries and approaches to the medieval from the sixteenth and seventeenth centuries before turning to England and moving forward to the eighteenth century.  Gray discusses seventeenth-century French scholarship, notably of romances, to offer a more sophisticated parallel to his detailed analysis of English antiquarians and their work collecting and editing medieval texts.  He offers a detailed analysis of the reception history of King Alfred, and pauses also on George Hickes and Thomas Hearne.  Gray then turns back the clock to look at the historiography of specific medieval writers, again focusing on Chaucer with his most estimable editor, Thomas Tyrwhitt, and critic, John Dryden.  He next spends substantial time considering the revival of ballads in the eighteenth century, pointing to the continuities these texts and their editions or manuscripts imply, and focusing on Percy’s Reliques both in terms of Percy’s decisions to polish and update his texts and in terms of the language used by imitators (Johnson, as Gray explains, famously derided this style).  The chapter finishes with the shift towards literary history promulgated by Percy, his predecessor Richard Hurd, and the humane and comprehensive scholarship of “the first great historical critic of English literature, Thomas Warton” (83).


The next section of the book addresses various trends in the eighteenth century, beginning with primitivism.  Gray points out that this impulse is not simply about nostalgia for a better past, but a belief in previous innocence, honesty, and justice.  Here he takes for his examples the native peoples of the Pacific and their interactions with explorers, and points to the two contradictory approaches of primitivism: the urge to see the primitivist peoples as children or ignorant, and the urge to see them as noble and glorious.  Gray uses these observations to investigate more deeply the complex question of Ossian as ‘presented’ by James Macpherson, and the ‘Rowley’ poems of Thomas Chatterton; the former engages in “a largely uninformed enthusiastic romanticism” (96) though pecuniary advances were probably also on his mind, while the latter evades a clear understanding of his pseudo-fifteenth-century poetry, written (as Gray kindly suggests) when there was not yet a firm understanding of the notion of ‘the truth of fiction’ (100).  To these two experimental medievalists, Gray adds the “runic poetry” of the time and, by extension, the “Celtic poetry” lauding bloodthirsty chiefs and warriors.  In this vein also belong the many translations over several centuries of “The Battle of Brunanburh,” the last of which was that of Alfred, Lord Tennyson.  Gray identifies Thomas Gray as the most successful of these poets, and quotes especially from “The Bard,” which ends with the Poet plunging from “the mountain’s height...to endless night.”  Clearly this kind of material presages Romanticism, and the second half of this section reviews the eighteenth century as a whole, pausing for extended discussion of Samuel Johnson’s interest in romance and his travels in Scotland, and following the train of thought forward by way of antiquarians (Joseph Ritson, George Ellis) almost to the end of the nineteenth century with Sir Walter Scott. With Scott, Gray suggests, “we first detect a genuine sense of period” (121).  


The next chapter, “Part 4,” turns to the nineteenth century, beginning with a survey of how medievalisms in religion, then chivalry, and lastly thought are perceived, mostly in England but with some comparison, especially to France.  Referring, for example to the Gothic tales of Mary Shelley, Bram Stoker, and R.L. Stevenson, Gray characteristically offers a passive sentence, with which he seems to agree: “It has been argued that this was not simply escapism, but provided a rich, powerful language of images and styles appropriate for the expression of deep-seated anxieties, social and psychological fears” (132).  Gray then turns to a broader European survey noting that medievalism is a hugely influential presence, and one often touching upon the major thinkers of the late nineteenth century.  Gray focuses on Germany and France, but notes other influences and accomplishments in passing, such as Donizetti’s opera Alfredo il Grande (for Alfred the Great, here fighting off a Danish adversary named Atkins). Gray touches upon Matthew Arnold’s lectures on Celtic literature when he was Professor of Poetry at Oxford, and then upon the growth of study and imitation of Northern tales, including Thiodolf the Icelander, by “A Mr. Gordon,” which contrasts the scenery and customs of the Mediterranean against Iceland.  Gray then briefly summarizes German medievalism, with special focus on music and scholarship, and ends the chapter with French medievalism, notably Victor Hugo, Viollet-le-Duc, and the cathedral.


The next chapter explicitly returns to England in the nineteenth century, with the opening thesis that “medievalism of one kind or another seems to have had some influence on almost every writer in England” (149) in the period.  Gray begins with Thomas Carlyle’s “gift of breathing life into the past” (150) before turning to the pre-Raphaelites and the discovery by William Morris and Edward Burne-Jones of a copy of Malory’s Morte d’Arthur in an Oxford bookshop in 1855.  Malory is, of course, the focus of Tennyson’s Idylls of the King, and Gray offers an extended defence of these poems for their treatment of character, their appeal to the ear, and their search for political order and good government. The chapter then turns to the poetry of William Morris, first his early works, then his version of Chaucer’s Canterbury Tales, and then his verse epic Sigurd the Volsung.  News from Nowhere perhaps receives the most attention, and Gray is most intrigued by Morris’s ideas about language, and his experimentation with dialect, with medieval usage, with simplicity of expression.  To complete his review of the nineteenth century, Gray briefly discusses the language experimentation of George Borrow and, in particular, the linguistic purism and Dorset language of William Barnes.


Borrow and Barnes open the door to Gray’s last section, on “the philologists,” a group very great in number in the nineteenth century.  He begins with the rise of institutions, including universities, focusing on the teaching of English and the founding of libraries.  He finds a new line of argument through Max Müller, describing his lectures on the importance of the English language: “it stands in the system of the intellectual world as light stands in the system of the physical world, comprising all, penetrating all, and revealing all” (174).  Scholars in the English and European tradition are joined by an American tradition.  Gray specifically considers Francis Douce, Andrew Lang, and G.K. Chesterton.  The main part of his argument, however, concerns the rise of scholarly study of Old English and Middle English and runs through F.J. Furnivall, James Murray, Henry Sweet, W.W. Skeat, H.C. Chadwick, Joseph Wright, and A.S. Napier, all described by Gray as being from Oxford.  He finishes the survey with W.P. Ker, quoting W.H. Auden’s opinion of his excellent writing, before turning to discussion of two major figures in America: Mark Twain and Henry Adams.  As throughout the book, his idea is to address both the creative reconstruction of medieval materials and the scholarly analysis taking place in the United States.  He thus addresses Twain’s A Connecticut Yankee in King Arthur’s Court at some length, especially on its double narrator, the practical Yankee and the more sensitive author, and on the grim ending.  Following the lead of Alice Chandler, who analysed Henry Adams’s Mont Saint Michel and Chartres in her 1970 book A Dream of Order, Gray describes Adams as celebrating a lost civilization, “with some hints of nostalgia, but an overwhelming sense of joy and potential liberation in a new situation” (197). Gray is particularly struck by Adams’s “full and powerful account” of the role of women, by his analysis of how Chartres Cathedral was built for its apse, for the Virgin.  Mostly, Adams points to the expressive nature of the cathedrals, to how the Gothic architecture of the eleventh and twelfth centuries show what those centuries had to say.


With these works Gray is already well into the twentieth century; his short final section, “Part 7,” points to its varied medievalisms.  He gestures in various directions, to folktales, songs, the research and publications of W.B. Yeats, the new genre of fantasy literature, and notably James Joyce with a very long quotation from his paean of medievalizing praise to the Boulevard Saint-Michel which turns into a statement that Ireland is fundamentally medieval and the modern world is similarly becoming a world of extremes–an unexpected turn of events in the epilogue.  Gray does not analyse the Joycean monologue at all.  Instead, he offers a brief envoi, noting that his book has run from Fingal’s Cave to Camelot, but the latter remains mysterious and uncertain, a resting place for us now to think “of the dreams, enthusiasm...affection and love which the rediscovering of medieval literature brought” (207).  


Gray offers an astonishing number of fascinating details: that Spenser’s depiction of battle with a dragon in The Faerie Queene depends on the medieval romance Bevis of Hampton for some of its details (17); that Coleridge’s father burned his copy of a favourite medieval romance (18); that Samuel Johnson was interested in feudalism, that Sir Walter Scott’s Quentin Durward often quotes from and alludes to the medieval romance The Squyr of Lowe Degre, and much more. None of these points has a footnote, presumably because for Gray these matters are common knowledge.  Every sentence, however, is dense with thoughtful argument and with new ways to think about the reception and recreation of the medieval in ensuing centuries–up to the end of the nineteenth century.  In fact, nearly every page opens a new field of possible thesis topics or studies in medievalism, partly because Gray is less interested in medievalism as a field of study than he is in looking at medieval literary elements continuing in ensuing centuries (some might say this is a distinction without a difference).  However, Gray does not delve much into how ideas and motifs are changed and redeployed, or how a particular carol retains its medieval wording but medieval popular drama survives only in hints.  His interest lies in the fact of that survival, and its cultural and historical context.


Leit-motifs run through the book, notably the French literary historian La Curne de Sainte-Palaye on questions of chivalry, but also Captain Cook, notions of orientalism and the exotic, nifty anecdotes about practice in New Zealand, the strong opinions of Dr. Johnson, J.R.R. Tolkien, and always Gray’s underlying motif of Mercury and Philology, those passionate and empowered by the Middle Ages to create new works of art, and those studying and editing its works.  


It is difficult to assess this book.  On the one hand, it is a true pleasure to read the thoughtful writings of Douglas Gray on a newish topic for him, though it is one that flows from both his anthologies and edited texts and his own considerations of themes and ideas and genres of later medieval literature.  His learning was vast but also kind, and the kindness shines through here; he is loath to condemn James Macpherson and Thomas Rowley for their flights of medievalizing imagination.  Basically, he wants to find opportunities and new ways of engaging with the afterlife of medieval texts, never to close down options for study.  At times here the work is old-fashioned and sometimes it seems that Gray would have read and included the work of modern scholars of medievalism such as Rebecca Brackman (on the Renaissance response to early medieval England), Clare Simmons on ballads and lyrics, Dustin Frazier Wood on antiquarianism in the eighteenth century, and Tom Shippey on Norse attitudes to death, to name but a few.  Some of the references here are pretty outdated and seem a bit blinkered–but, this was a last work by a scholar whose humane and generous soul wanted to point out some ways forward for thinking about the afterlife of medieval texts.  In this book, Douglas Gray has most certainly accomplished that goal.  Jane Bliss has done us all a favour in making it available to us–particularly to researchers looking (but with an eye to more recent scholarship) for possible projects. 

February 7, 2024

Once Upon a Mattress

Vaguely Medieval, Genuinely Silly, Wildly Entertaining:
New York City Center’s Encore! Concert Production of
Once Upon a Mattress (based upon The Princess and the
Pea
by Hans Christian Andersen)

Reviewed by Kevin J. Harty,
La Salle University
harty@lasalle.edu

Medievalism as stage musical is a small subgenre.  There is Camelot, which may not have aged well given the short run of the recent New York revival at Lincoln Center.  On the other hand, Spamalot’s current Broadway revival is doing well at the box office and has garnered generally positive reviews. Twang—the disastrous Robin Hood musical—closed shortly after it opened in London in 1965, bankrupting its backers, and seems never to have been revived. Less panned critically, but nonetheless never revived, has been the 1975 Joan of Arc musical, Goodtime Charley. Pippin, the 1972 musical about Charlemagne’s first son, continues to be a favorite among college and high school theater groups, and there was a successful 2013 Broadway revival, which I reviewed here on April 30, 2013. Richard Rodgers and Lorenz Hart’s A Connecticut Yankee, from the Twain novel, both had a successful initial run and has seen the occasional revival. To this short list of stage musical medievalisms, we might well add Once Upon a Mattress.

Mattress opens in 1428 in medieval Samarkand, a kingdom ruled over by the devious Queen Aggravain (Harriet Harris) and the mute King Sextimus the Silent (David Patrick Kelly). The King has long been cursed by a witch never to speak until a mouse devours a hawk, and, over the years, any mouse within ten feet of the court has fled in terror whenever a hawk shows up. But the central concern in the kingdom is finding a suitable bride for Prince Dauntless the Drab (Michael Urrie), because a royal edict has forbidden anyone else in the kingdom to marry until he does: “Throughout the land, no one may wed, ‘til Dauntless shares his wedding bed.”  Twelve princesses have failed to win the Prince’s hand because they were unable to pass a series of impossible tests devised by the Queen, who wants to keep her son to herself. Aggravain has been successful in disqualifying potential princess brides with help from her partner in crime, the Wizard Cardamom (Francis Jue).

Tensions at court are heightened when Sir Harry (Cheyenne Jackson), the Chivalric Knight of the Realm, finds out his lover, Lady Larken (Nikki Renée Daniels), is pregnant. Sir Harry is the court and the musical’s resident “himbo,” who, in a running joke, loves Larken almost as much as his shiny silver spurs. To solve his domestic problem, and to allow every other couple in the kingdom to wed, Sir Harry sets out on an arduous two-week quest to find a suitable princess, finally coming across Winnifred the Woebegone (Sutton Foster).  Winnifred is the Princess of Swamp Castle located in a land of bogs and marshes; only the peasants live on the kingdom’s few patches of dry land. Sir Harry escorts Winnifred back to Samarkand, where she appears to be anything but marriage material. She swims the moat around the castle, is shabbily dressed, is alternately uncouth and clear-sighted, and wants to be called “Fred.”  In short, she is just the kind of nightmare daughter-in-law whom the Queen would immediately reject, and, of course, just the kind of girl who immediately wins Prince Dauntless’s heart.

To nip her son’s attraction to Winnifred in the bud, the Queen and the Wizard devise a sensitivity test, placing a single pea under the twenty mattresses on Winnifred’s bed.  The previous unsuccessful princesses had had to pass tests in science, history, mathematics. But the body of a true princess will be so sensitive that even the small lump caused by a single pea, twenty mattresses removed, will prevent her from falling asleep. Winnifred passes the test, stumbling the next morning into court a sleepless zombie. But, when the Queen refuses to consent to Winnifred’s marriage to her son, the previously ineffectual Dauntless grows a spine and barks at his mother, telling her, in no uncertain terms, that he will indeed marry Winnifred. This response—like that of a mouse devouring a hawk—renders the Queen mute and restores the King’s voice, as Dauntless and Winnifred happily head off to the altar.

Encore! Productions at City Center are concert, rather than full-fledged stage, performances.  The series is in its thirtieth season.  Rehearsals and production runs are limited. There are no sets. The orchestra is not quite as large as it would be for a Broadway production, and props and costumes are functional and generic.  The plot of Mattress is admittedly silly, but this production works. The songs may not be all that memorable, but the full-throated cast is clearly having the time of their lives. Ham acting is the rule, not the exception, and the whole production comes together as a seamless whole.

Mattress has an interesting production history.  The original production opened off Broadway in May 1959, but quickly moved uptown to a Broadway venue for an extended run under the direction of George Abbott.  The then little-known Carol Burnett made her Broadway debut in the role of Winnifred.  Burnett was subsequently replaced in the role by the veteran television comic actress Ann B. Davis.  The seven-month national tour of the show after the Broadway production closed saw first Doddy Goodman and then Imogene Coca play the Princess—a role clearly designed for a comedienne with broad physical and vocal comic skills. In the road company, the great Buster Keaton played the part of the mute King. The Burnett production was adapted for television in black and white in 1964 and then again in color in 1972.  A third television production in 2005 saw Tracey Ullman as the hapless Princess, and Burnett, in a nice turn, as the Queen.

Mattress is filled with what François Amy de la Bretèque has called elements of the medieval imaginary, and what Andrew B.P. Elliott has dubbed historicons.  The musical offers a castle, a king and a queen, a prince and a princess, a brave knight, ladies in waiting, a quest, a royal challenge, a curse, a jester, a wizard, and a minstrel (the part has been cut from the City Center production), as well as references to Camelot, dragons, and witches, among other items contemporary audiences expect to find in an accurate, as opposed to an authentic, portrayal of the medieval. To the list of the musical’s accurate medievalist elements, the Encore! Production adds the name of Winnifred—now, thanks to David Lowery’s 2021 film The Green Knight, an early medieval Welsh saint to be reckoned with—a Swamp Castle—later familiar to audiences from the 1975 film Monty Python and the Holy Grail—the musical number “Song of Love,” which encapsulates the entire plot of another vaguely medievalist musical, the much-revived 1987 Into the Woods, and a gender bending use of a familiar Arthurian name, Aggravain. The City Center production is under the musical direction of Mary-Mitchell Campbell, the artistic direction of Lear Debessonet, and the creative direction of Clint Ramos.

One Upon a Mattress with original music by Mary Rodgers, original lyrics by Marshall Barer, and original book by Jay Thomson, Marshall Barer, and Dean Fuller, from the Hans Christian Andersen’s fairytale The Princess and the Pea, at New York’s City Center in an Encore! Concert Production, January 24-February 4, 2024. Running time: 150 minutes with one intermission.