Emmy Winner Kevin Del Aguila (The Wizard) Opines on ‘Once Upon a Mattress’ at the Ahmanson

Last December, Center Theatre Group’s Ahmanson Theatre presented the well-received A Christmas Story, The Musical.

Keeping with the holiday tradition of fun and lighthearted fare for individuals and families alike, this year will see the direct Broadway transfer of Once Upon a Mattress, featuring stage superstar Sutton Foster. The director is Lear deBessonet, whom most will remember helmed a previous direct-from-Broadway engagement at the Ahmanson — 2023’s Into the Woods.

Based on the 1835 Hans Christian Andersen fairy tale The Princess and the Pea, Once Upon a Mattress stays true to the highly dependable and evocative formula of Disney films, many of which were adapted from Andersen’s other works.

The ingenious Amy Sherman-Palladino, creator of the everlasting Gilmore Girls, has adapted Andersen’s story for the stage, the plot for which has been touched up by Jay Thompson, Dean Fuller, and Marshall Barer (also the lyricist). With music by Mary Rodgers and choreography by Lorin Latarro, it’s clear that there are not only big names behind this revival, but ones who refuse to rest on their established reputations.

The result is a musical that is fresher now than it was when it debuted in 1958. Foster (Princess Winnifred the Woebegone), Ana Gasteyer (Queen Aggravain), David Patrick Kelly (the cursed King Sextimus the Silent), Michael Urie (Prince Dauntless), and Daniel Breaker (Jester), among others, will return for the Los Angeles run which cleverly tells the tale of the unlikely princess who is more capable than appearances might indicate.

There’s no mistaking that Princess Winnifred, humorously referred to as “Fred,” is a little rough around the edges; she lacks the grace and decorum of your conventional leading lady. Still, when the villainous and obsessively picky Queen Aggravain decrees that nobody in her 15th-century kingdom can marry until her son Prince Dauntless does, Fred soon enters the picture as the “lucky” 13th bridal candidate, subjecting herself not only to the Queen’s disapproving ire, but myriad tests to prove her destiny as “The One.”

Among these evaluations is ascertaining how sensitive Fred is. For the Queen, sensitivity is a non-negotiable trait, and to challenge the princess’s senses, a trial is hatched to insert a tiny pea under twenty mattresses, whereupon Fred would lay her head. If she cannot sleep, then she is worthy; if she can, then she is assuredly not sensitive enough. (This crucial plot point, additionally, reveals the inspiration for both the original and adapted titles.)

The multitalented, Emmy Award-winning Kevin Del Aguila portrays The Wizard who is equally responsible for devising the pea-under-the-mattresses plan. Del Aguila, whose Cat Kid Comic Club: The Musical (he wrote the book and lyrics) will be running at the Kirk Douglas Theatre concurrently with Mattress, recently chatted with LAexcites about his manifold background in the entertainment industry, how his experiences may have informed his interpretation of The Wizard, his glowing impression of the cast, and much more.

You have one of the most impressive résumés I’ve ever seen. You’ve written (as book writer and lyricist), performed, and directed at the highest level. More than being a jack of all trades, you appear to be a master of several. How do you see yourself? Is there one talent you identify with more than the others?

Del Aguila: [Laughs] This is a very hard question for me. The really long and drawn-out answer is that when I was in second grade, I wrote, directed, and performed in my own play called Stupid Wars — a parody of Star Wars [laughs]. It was really fun, and we won second place in the talent show. And after that, I didn’t think it was ever not possible. And if all three overlap now and again, then great. I never thought I should stick to one — if you’re creative, and have a desire to be creative, then it should take any form it needs to take.

I started trying to become an actor because it’s the most readily available thing, but I would always write things on the side, and do imitations of playwrights’ work I admired, and one-act plays/scenes. When I moved to New York, my unemployed actor friends and I [laughs] decided to put up some of the stuff we wrote. We’d self-produce my writings, and before I knew it, I had a few different careers going on — acting, writing, and, every now and then, directing. It’s been a natural progression of things; and, as they say, ‘You can’t make a living, but you can make a killing’ [laughs]. Luckily, it’s worked out.

To what extent has your conception of The Wizard, or other roles, been informed by the different hats you’ve worn within the entertainment industry? For instance, do you write out a character background story, furnished by your own touches, and try to see your persona as much as from a performer’s perspective as you would a director’s?

Del Aguila: That’s an interesting question. It depends on the show. Every show has it’s own set of rules, for lack of a better term. Sometimes I might have to do a lot of research, or approach it from a certain angle. Other times, I’ll cannonball into a a barrel of fun and swim around in there. And for Mattress, it seems like the latter. They’re surrounding me with all of these hilarious and fun people; it’s a delightful and clowning-around time [laughs]. So, I’ve been putting on my fun hat and jumping into it.

I’m also trying to find my way and not destroy everyone else’s performances [laughs]. I’m a little nervous as I do some magic as the Wizard. I don’t know if it’s a walk in the park but it’s a lot of fun.

How do you think your experience with adapting/writing for children’s stage productions (e.g., Dog Man: The Musical, Diary of a Wimpy Kid: The Musical) and TV shows (e.g., Peg + Cat, Blue’s Clues & You!) has prepared you for the role of The Wizard in a show based on a fairy tale — The Princess and the Pea — and originally intended for mainly children?

Del Aguila: I think that’s the thing. The best part when writing for kids is that you can be your most creative. For the ‘adults,’ you can’t really write about singing cows and aliens, but kids really love play. They see adults playing, they see the language they speak. They appreciate creativity, to expand their ideas of play, and fun. I think that’s what Mattress offers — it’s couched in this fairy tale, as it’s about a queen, princess, wizard, jester — all these big, iconic fairytale characters that let your imagination fly.

Yet, it appeals to adults as much as children — and a big reason is the lightheartedness and comedy. In an era when the go-to strategy for attracting audiences is to become perhaps bawdier, why and how do you think this musical has retained its appeal despite being staunchly family-friendly? Or maybe that is precisely the reason?

Del Aguila: I think, from my point of view, telling a clean joke is really hard. It’s also really hard to find. But when you hear it, it’s the funniest joke around. You have to be legitimately funny; you can’t be stooping or playing for the easy laugh which is the hack thing to do. To have a joke that is of a high quality and genuinely hilarious — that takes a lot of work and dedication. That’s why it’s great to see Sutton Foster, who is super talented, play the clown. We want to see these super talented, multifaceted people go full tilt in a direction like this.

What’s it been like rehearsing the song “Sensitivity” with Ana Gasteyer (Queen Aggravain)?

Del Aguila: [Laughs] I’ve only done it a couple times, and to tell you the truth, I’ve spent most of the time watching her [laughs]. That will probably go away soon. But it’s very exciting, and she’s such a great comedienne. I’m so excited to be working closely with her on this.

If you could play any other character in Once Upon a Mattress, or sing a song that you’re not part of, who or what would that be and why?

Del Aguila: Oh Gosh, I don’t know. ‘Song of Love’ (‘I’m in love with a girl named Fred!’) is great, and Michael Urie knocks it out of the park. I’d never want to sing after him [laughs], but it’s a fun one.

The musical is about the protagonist, Princess Winnifred the Woebegone, being put through a gauntlet of trials to prove herself as a bride to Prince Dauntless — with each challenge being more difficult than the last. When applied to real life, why do you think some are better suited at overcoming obstacles than others? Is it readiness, a mindset, or a combination of factors?

Del Aguila: It’s got to be everything. Some say they don’t believe in luck, but I do believe in being prepared when luck strikes [laughs]. In my experience, the more you do, the more you learn.

Just gaining experience, whether it’s good or bad, makes you learn. I’ve always found that when I step on stage, it’s like a test with opening night and reviewers. I’m always nervous, scared about falling over, and making a huge buffoon of myself. But the second you go on stage, instinct takes over. You start to feel your way, you realize you belong, you take what’s coming at you, and use it to your advantage.

Things are never as bad as you think they might be [laughs]. You learn to turn the nerves into excitement because you want it to be good and live up to what it should be. It comes down to not so much being nervous, but having the mindset of being excited about the possibilities.

Cover image caption: Michael Urie and Sutton Foster (center) with the cast of Once Upon a Mattress. Photo by Joan Marcus

Once Upon a Mattress runs through Sunday, January 5th at the Ahmanson Theatre. For further information and tickets, visit centertheatregroup.org.