In the Maryland Ensemble Theatre (MET) production of The Commedia Princess and the Pea, the fun begins for the youngsters — many of them elementary and pre-K age — well before they ever get inside the theater. The lobby and hallway are full of balloons, balloon animals, face painting, crayons, and a juggler.
Then the show begins, with chaos well organized by director Stephen Craig, as the four actors scramble to get costumes — not always the right ones at first — deploy props, and figure out who is playing which character. Columbina (Jennifer Pagano) assigns Areliquine (Karli Cole) to play the lonely Prince (not the pea, as she had initially feared), Rosetta (Molly Parchment) to play the scheming Queen, and Punchin (Fred Fletcher-Jackson) to play the Queen’s musician and co-conspirator while reserving the role of the Princess for herself. The characters track, without being too literal about, stock Commedia types.
Characters proliferate as the show proceeds. Columbina and Punchin enter as a rapid-fire series of improbable, unsuccessful princesses. Rosetta insists on popping in as a Fairy Godmother, while Arequiline wanders on as a knight with a Southern accent. In a nod to the Italian origins of the Commedia form, Columbina gives us an intentionally corny Italian accent.
True to the Commedia style, gestures and movements are comically exaggerated, with plenty of slapstick to go around. There is lively music in sound designer Kaydin Hamby’s varied underscoring, much of which is derived from classical or opera sources (introducing the Princess with an “Ave Maria” was a bit odd), and comic dancing to go with it. The energy of the actors’ movement and their high level of physical acting skill are exemplary throughout.
When it comes to the key plot point, the actors stack trunks and other elements of Jeremy Myers’ prop design on Rhett Wolford’s simple but functional multicolored set to form the bed on which the Princess, of course, cannot get to sleep because of the tiny pea underneath the pile. Not just the underlying costumes — the Princess’s patchwork skirt is particularly fun — but the variable costume bits in Julie Herber’s design add color and delineate the characters. Commedia masks were not part of the design, however.
In addition to the physical antics of the troupe, the witty script by Lane Riosley and Rebecca L. Byars gives adults in the audience as well as the kids plenty to chuckle about. The rhyming verse exchanges between the Queen and Punchin were particularly delightful.
I took care to watch the audience during the show: the kids were paying attention to what was going on, not squirming, seemingly not bored. That’s always a good sign that a show directed at a young audience is working. I had not seen one of MET’s “FUN Company” shows before. In this production, the company does a fine job of providing entertainment to its audience that is of good professional quality, avoids being cloying or condescending, introduces kids to an important theatrical form without being “instructional” in tone, and surrounds the play itself with activities that all comers enjoyed.
Running Time: 55 minutes, with no intermission.
The Commedia Princess and the Pea plays through March 9, 2025, at Maryland Ensemble Theatre, 31 West Patrick Street in downtown Frederick, MD (across the street from the Weinberg Center). Performances are Saturdays at 10:30 am and 1:30 pm and Sundays at 1:30 pm. Patrons are encouraged to come early to enjoy the pre-show activities. Tickets ($17–$20, with discounts for children, seniors, and military) can be purchased by phone at 301-694-4744 or online.
MET’s FUN Company presents
The Commedia Princess and the Pea
By Lane Riosley and Rebecca L. Byars
Directed by Stephen Craig
CAST
Karli Cole: Arlequine
Molly Parchment: Rosetta
Jennifer Pagano: Columbina
Fred Fletcher-Jackson: Punchin
CREATIVE TEAM
Stephen Craig: Director
Melynda Burdette Wintrol: Interim Managing Director
Cody James: Technical Director
AJ George-Wright: Stage Manager
Kaydin Hamby: Sound Design
Julie Herber: Costume Design
Jeremy Myers: Props Designer
Rhett Wolford: Set Design
Ashley Federico: Lighting Design