In loving memory of Joe... Wait, he's still alive... isn't he?

Because of the state of existence that Joe is in, because of his extensive injuries, Joe is not able to do the things that most people don't think twice about. He is not able to walk, hold, stand, see, hear, smell, and many other feelings that able-bodied individuals are able to. What hurts the most to Joe, is the fact that it is near impossible to communicate with other people. This, in combination with his thoughts and memories (especially the one concerning the fishing trip he and his father took), makes him feel desperately lonely. He wants to be able to communicate with people so as not to be forgotten.

Busted Joe

Joe is wounded beyond my personal comprehension, as he has none of his primary limbs, and furthermore does not have a face. because of his facial injuries, he has no sense of sight, smell, or hearing. All that he has left is his torso, head, and sense of feeling. He has to very finely tune his remaining sense to know what is going on around him. However, this doesn't exactly matter as much as one would initially think. In fact, Joe is able to do things with what remains of himself that most able-bodied people wouldn't be able to do even if they wanted to. In this right, he enters a state of existence that most people aren't able to reach without they themselves being blown beyond recognition.

Gender Mattresses

The gender roles played in the musical “Once Upon A Mattress” are an interesting deviation from the stereotypically patriarchic familial structure. This play’s interpretation is somewhat of an abnormality predominantly because of the depiction of a more maternally-oriented power base that is in contrast to the stereotypical social norm, that simultaneously mocks the increasingly common social structure. The end result of the play is also somewhat quizzical as it shows a curious shift in the “pants-wearing status” of the relationship, while at the same time criminalizes the stereotypically feminine position.
More and more in families of today, there is a power shift from the paternally-oriented structure of yesteryear, to a maternally centered structure. This is seen in the increasing population of stay-at-home dads and mothers that are the primary source of income for the family. While attempting to maintain a lighthearted manner, “Once Upon a Mattress” pokes fun at this structure in a somewhat “absolute power corrupts absolutely” resounding statement. The seemingly totalitarian queen, deftly played by Elise Lockwood, is an overbearing nag (to say the least). On a subtle level, this is bashing this novel structure to say that, should a woman take power, that she will become dictatorial with it. This is in contrast to the King, played by Ian Ketcham, who seemed to be the rational, yet unorthodox, sense of reason.
On a positive note, it is quite interesting that, despite the negative connotation, the writers of this play decided to make the Queen the “pants-wearer” rather than your all-powerful King that is present in all too many fairytales. It is an interesting insight into the shift of power that began right around the same time as the first performance of the play (1959).