There have been times, I’ll admit, that I have felt overwhelmed by Sutton Foster. While it’s indisputable that the two-time Tony Award winner is lavishly talented as a singer, dancer, actress, and comedienne, her effusiveness — think Mary Tyler Moore meets the Energizer Bunny — has struck me as a bit much in certain productions, such as a 2022 revival of “The Music Man,” in which she was miscast as the prim, repressed librarian Marian Paroo.

Happily, Ms. Foster’s newest Broadway role not only encourages but demands an over-the-top quality. Princess Winnifred, the boisterous, brawny, moat-swimming heroine of “Once Upon A Mattress,” is nothing if not overwhelming, and the part also accommodates the sly wit that has made Ms. Foster a successor to Moore as much as her million-dollar smile.

It was actually Carol Burnett who originated the role of Winnifred — Fred to her pals — in this charming 1959 musical, which boasts a fetching score by Mary Rodgers (Richard’s daughter) and a playful libretto by Jay Thompson, Dean Fuller, and its lyricist, Marshall Barer. For this new production, which had its premiere last winter as part of New York City Center’s Encores! series, the book has been adapted by Amy Sherman-Palladino, a longtime collaborator of Ms. Foster whose TV credits include “Gilmore Girls” and “The Marvelous Mrs. Maisel.”

The result is a zesty soufflé, once again served with winking whimsy by director Lear deBessonet, whose “Into the Woods” also transferred to Broadway from Encores! to great acclaim a couple of years ago. David Zinn’s set for “Mattress” remains fundamentally spare — the castle is represented by a dollhouse in the opening number — with Andrea Hood’s brightly colored costumes providing fairy-tale flair.

A perfectly cast Michael Urie reprises his role as Prince Dauntless, whose dreams of finding a medieval maiden to wed are repeatedly crushed by his domineering mother, who subjects prospective brides to impossible tests. “You asked that one princess to do long division,” he objects at one point, “and it hasn’t been invented yet.”

Dauntless’s hopes are raised by Winnifred, who after conquering that moat announces her arrival at the palace by spitting a mouthful of sea water in the direction of a gentleman of the court, then proceeds to peel off a succession of small- to medium-sized animals who have latched onto or crawled inside her wet gown. “Leeches!” the prince exclaims, as enchanted as the queen is revolted.

The finely tuned chemistry between Ms. Foster and Mr. Urie — the way her gruff princess and his beta-male prince reduce each other to giddy, goofy gushing — may be the production’s most conspicuous delight, but there are strong performances from other musical comedy stalwarts. Nikki Renée Daniels returns as the court ingenue, Lady Larken, a role that shows off both her glistening soprano and her disarming mix of elegance and pluck.

Brooks Ashmanskas and David Patrick Kelly find similarly solid vehicles as, respectively, a wry wizard and King Sextimus the Silent, rendered mute by a witch’s curse. “Man to Man Talk,” in which Sextimus tries to explain the facts of life to his seemingly hapless son, is a highlight of the second act.

Those new to the cast include several veteran troupers: A “Saturday Night Live” and “Wicked” alumna, Ana Gasteyer, proves at once convincingly tyrannical and comically breathless as the queen; Will Chase is winningly doltish as Sir Harry, Larken’s strapping but witless beau; and Daniel Breaker proves a dry, dapper jester.

For most fans, of course, the main attraction will be Ms. Foster; rest assured that the role of Winnifred fits her like a glass slipper. Mind you, I suspect this princess would sooner be seen in a sturdy pair of sneakers — or, better still, water shoes.