Looking for Teens in "Once Upon a Mattress" Show

The unconventional, brash, and lovable princess from the swamp. Very physical, comedic, and unrefined compared to traditional fairy-tale princesses. Voice: Mezzo-soprano (A3–D5), strong belt.) A fearless comedian with physical comedy chops. Needs to be willing to look silly, splashy, and brash while still endearing. Bold, uninhibited, quirky energy (think Lucille Ball / Carol Burnett style).

The sheltered, somewhat naïve son of the King and Queen. Earnest and sweet rather than heroic. Voice: Baritone/Tenor (C3–E4). Best Fit: Sweet, naïve, and childlike innocence. Should have boyish charm more than traditional leading-man swagger. Type: Earnest, slightly awkward, gullible. Casting Note: Often shines with an actor who has natural warmth and comic cluelessness—someone who can balance sincerity with goofiness.

The domineering, manipulative queen who rules the kingdom while silencing the King. Sharp-tongued, flamboyant, and theatrical. Voice: Alto/Mezzo (A3–C5), strong belter. Best Fit: Commanding stage presence, flamboyant, larger-than-life. A diva role for someone who can chew the scenery. Type: Controlling, sharp, theatrical, loud—think “villainous Broadway grande dame.” Casting Note: Perfect for someone with strong comedic timing, a booming voice, and the ability to dominate scenes.

The mute King, cursed to silence until "the mouse devours the hawk." Expressive, physical comedy role—entirely pantomime. Voice: Non-singing (pantomime). Best Fit: A physical comedian with excellent expressive face/body control. Think silent film clown or vaudeville performer. Type: Mischevious, sly, animated. Casting Note: Great for an actor who is a natural scene-stealer without needing lines—someone with strong clowning or mime experience.

The sweet lady-in-waiting, in love with Sir Harry. Becomes pregnant before marriage, giving urgency to the marriage law plot. Voice: Soprano (D4–A5). Best Fit: Romantic, sincere, the “straight man” to the broader comedy. Should contrast Winnifred with sweetness and fragility. Type: Gentle, sentimental, lovestruck. Casting Note: A natural fit for a soprano with a warm, legit tone and the ability to play genuine emotion while chaos swirls around her.

A chivalrous but vain knight. Brave, but often more concerned about his image. Voice: Tenor (C3–F4). Best Fit: Handsome, dashing, but slightly vain and over-the-top. Should play the “hero” archetype—but with comic pompousness. Type: Valiant, dramatic, sometimes pompous. Casting Note: Good for a strong singer with presence who can poke fun at the “knight in shining armor” cliché.

The Queen’s fussy and anxious sidekick. Conspiratorial, dramatic, and sometimes bumbling. Voice: Baritone (C3–E4). Best Fit: Nervous, fussy, easily flustered. A schemer but not especially competent. Type: Comic character actor. Casting Note: Works well for an older actor or anyone with a flair for twitchy, nervous energy.

The charming narrator who often breaks the fourth wall. Witty and observant, guiding the story. Voice: Tenor (C3–A4). Best Fit: Charming, witty, smooth storyteller. Needs charisma and warmth to engage audience. Type: Clever, elegant, sly. Casting Note: Suits a strong singer-actor with natural charm and a twinkle in the eye.

Quick-witted, playful, and loyal to the King. The voice of truth cloaked in humor. Voice: Tenor (C3–A4). Best Fit: Agile, sprightly, funny. A bit of a trickster, full of energy. Often has dance or movement-heavy staging. Type: Quick-witted, playful, mischievous. Casting Note: Excellent for someone with great comic timing, physicality, and energy (perhaps a dancer)