There is just no stopping Mamma Mia!, the Swedish pop sensation ABBA’s jukebox musical, one of the longest-running shows on both the West End and Broadway that’s been produced the world over, in about 20 languages, since 1999, has a film adaptation and sequel, and until the end of time will find an audience of all ages screaming with delight.
Now in its 25th anniversary tour, the show opened in Grand Rapids Tuesday night to a house packed with fans—largely white women and children, some dressed in 70s disco-inspired garb—who didn’t seem to mind the second-string performances. Such is the infectiousness of these songs. Everyone got up and danced along to the encore of “Dancing Queen”, “Mamma Mia!” and “Waterloo” in the playful, extended curtain call.
Far be it from a critic to tell them not to enjoy themselves. I just hope they also sang and danced along to the local regional productions in the last six years that were better shows.
Now a period piece set at the turn of the century, Mamma Mia! (book by Catherine Johnson with music and lyrics by Benny Andersson and Björn Ulvaeus) strings together about 25 ABBA tunes to tell a dramatic yet light-hearted story of 20-year-old Sophie, the only child of feminist single mom Donna, on the eve of her wedding at the taverna they run on a Greek Island.
Neither of them knows who Sophie’s father is, but more than anything Sophie wants him to walk her down the aisle. After reading her mom’s 1979 diary, Sophie, unbeknownst to Donna, invites the three men who could be her father to the wedding; and when they—as well as Donna’s oldest girlfriends and former bandmates—descend on the island, nostalgic shenanigans and heartfelt feelings ensue.
But the strength of this show lies in the development of the characters and their relationships through song, and while the ABBA tunes, often silly and nonsensical, are improved by having this story on which to hang, on opening night, several of the leads were outmatched by the music, so the emotional and narrative arc didn’t ring true; and it's as if the terrific band, conducted by Daniel Klintworth, tried to make up for it by simply playing too loud, both guitars and voices screaming throughout the show, making large ensemble numbers practically deafening and without nuance.
Understudies Stephanie Genito as Donna and Blake Price as Sam gave serviceable performances, but they’re both a little young for their parts, they didn’t have the necessary chemistry to electrify the sexual and emotional tension of their reunion, and their apex moments (the duet “S.O.S.” and her “Winner Takes It All”) fell flat. This also affected other moments and relationships on stage, most notably between Genito and Amy Weaver, a very strong Sophie—a lovely singer with appropriately youthful confusion and desire—who didn’t quite convincingly create the real central love story between mother and daughter.
However, there’s plenty to admire here, including some spectacular performances. Christine Sherrill is a stitch as Rosie, her comedic timing impeccable, her physical comedy inspired, and her singing beautiful. The way she dances, both literally and figuratively with Jim Newman as a warm, human Bill, especially in “Take a Chance on Me”, is a joy. Grant Reynolds makes the most of the underwritten character Sky, Sophie’s fiancé, I’ve ever seen and is a real bright spot in the show. Jalynn Steele is a powerhouse as Tanya, the plastic-surgery loving, thrice-divorced, unwitting cougar, her “Does Your Mother Know” a hilarious highlight.
The excellent ensemble creates fantastic big dance numbers that make the show most pleasing of all and do justice to Anthony Van Laast’s fun choreography, from the men’s hunky flipper march complete with SCUBA gear to sexy nightclub moments with waving arms and swirling hips to Greek folk-inspired circle dances.
And this production, directed by Phyllida Lloyd, is quite visually appealing, with the simple, effective white set and Aegean Sea blue fabric proscenium (production design by Mark Thompson) a largely blank canvas for the wonderful lighting design, at times like a rock concert, by Howard Harrison.
Thanks to that rock-concert feel and some really wonderful performances and technical choices, opening night of this Mamma Mia! tour in Grand Rapids was largely the fun-loving spectacle the show’s fans expect, despite its shortcomings. And especially at such high volume, those undeniably catchy ABBA tunes will be on repeat in their minds all over again for days if not weeks to come.
Mamma Mia!
Broadway Grand Rapids
Nov. 26-27
https://www.devosperformancehall.com/events/2024/broadway-gr-presents-mamma-mia
