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Our design team is hard at work laying the foundation and thinking through the experience we want to create. The next big feature we want to build together is a brand new game mode. We recently welcomed a few new friends, including our first-ever Japanese and French Partners! You can find all of our Dauntless Partners here. As the game grows and some Partners explore new avenues, we want to make sure there’s always a group of creators who are excited about engaging with and creating amazing content for our community. Since its inception, the Dauntless Partner Program has welcomed many talented content creators who love sharing their passion for Dauntless with the community. This year, we’re ramping up efforts on our Partner program. As we get closer to the final design, we’ll share some sneak peeks in another live stream.Īs we’ve stated in April’s State of Dauntless post – this year is all about building Dauntless together. Our next big in-game environment may be somewhat familiar to veteran Slayers, or the most perceptive lore seekers. The team is cooking up some exciting ideas for this brand new Behemoth type, but since we started this process together, let’s keep it going together! More details to come. Join us in the Dauntless Discord on September 13 to chat with our Behemoth team about Codename Crudge and how this Behemoth might behave in-game. Where: Old Log, 5185 Meadville St., Excelsior.Creating Codename Crudge together was so much fun, so we’re looking for more ways to bring you closer to our development process. Who: Book by Marshall Barer, Dean Fuller and Jay Thompson.

But director Garry Lennon supplies "Mattress" with many inventive details - a nod to "Les Miserables" here, a between-acts snippet of the White Stripes-played-as-if-by-court-musicians there - to make the show, silly, tuneful fun.

Other than a pretty pile of mattresses that leans into the show's '50s orange-and-turquoise palette, this is not a great looking production. In general, folks who are used to Stephen Sondheim or "Book of Mormon" may be surprised by how happy "Mattress" is to just be genial, low-stakes entertainment. There are half a dozen terrific smaller parts, with courtiers Sir Harry (Jordan Oxborough) and Lady Larken (Sara Sawyer) to supply the love. One reason that works is that, oddly, "Mattress" cares more about its supporting characters than its leads. It's tough to imagine any mattress action with this prince but Mai makes her character so lively, bright and assertive that we assume Winnifred knows the right self-help book to mold her frog - er, prince - into a man. One question no one bothers to ask is why vibrant Winnifred wants to marry a guy whose named includes the word "drab," especially since Beckman's amusing, committed performance is so childlike that there's a creepy note to his pairing with assured Mai. If Winnifred can detect the pea placed at the bottom of a stack of 20 mattresses on which she's trying to sleep, she wins Dauntless. Dauntless' mother, Queen Aggravain (Melanie Wehrmacher), doesn't think anyone is good enough for him so she devises impossible quizzes for potential suitors (shades of the tragic opera "Turandot" there, although no one gets murdered or even roughed up in "Mattress").

Honestly, there isn't much plot to pause in this Old Log Theatre show.Īmanda Mai is aces as Winnifred, a brash princess summoned as a possible suitor for Prince Dauntless the Drab (Neal Beckman). Composer Mary Rodgers' father, Richard, had been behind shows such as "Oklahoma," which fully integrated the book, songs and dance, but "Mattress" is in the retro style of musical, which pauses occasionally for a song that doesn't move the plot forward at all. There's something pleasingly old-fashioned about the show, which spoofs its fairy tale origins and was even a little behind the times when it debuted. No one dies of complications of AIDS in "Mattress," or accidentally eats their loved one in a meat pie - one sign that a lot has changed since the simpler era when "Mattress" was created. The musical "Once Upon a Mattress" takes you back in time - not to 1428, when it's set, but to the Golden Age of Broadway, when it was written.īased on Hans Christian Andersen's "The Princess and the Pea," the show debuted in 1959, when some zippy songs, a script with a couple of dozen good jokes and a charismatic star guaranteed a long run.