Mamma Mia, popular showcase of ABBA songs is still making the rounds to enthusiastic audiences.
One of the most popular musicals ever, audiences around the world have been enjoying Mamma Mia since it first hit London’s West End in the spring of 1999.
By this time, it is doubtful if anyone does not know the story of how the musical came into being or the details of its cleverly contrived storyline.
Built around the songs that the super popular Swedish group ABBA made famous in the 1970s, Catherine Johnson’s book winds the light-hearted plot into a showcase for the songs and nostalgia for the period.
Set on a Greek island on the day before 20-year-old Sophie’s wedding, the plot is an extended joke, with the occasional attempt at emotional connection, that tells how the bride wants her father to give her away — if only she knew which of three possible men described in her mother’s diary is her father.
Although Mamma Mia has been around the global block numerous times, touring companies are still making the rounds. Not surprisingly, the opening night audience at the NAC greeted the current touring production with enthusiasm but Southam Hall was not packed to the rafters.
Primarily a show that highlights the female principals, its greatest appeal has always been the simplicity and joy factors — not to mention the happy memories of spandex and platform boots for the 50+ crowd.
In the lead role of Donna, the single mother who owns the taverna on the island where the action is set, Kaye Tuckerman is commanding and lithe with a singing voice at its best in the quieter melodies.
Donna’s two long-time friends and members of her one-time singing trio, Alison Ewing as Tanya and Mary Callanan as Rosie, have fun with their juicy comic roles. Meanwhile, Chloe Tucker as Sophie is most memorable for the lovely quality of her singing voice.
Among the four male principals, Paul Deboy delivers a strong characterization of the gay English banker Harry Bright and Happy Mahaney as Sky, Sophie’s fiancé, inserts more strength and feeling into this slight part than I have seen in previous productions. John-Michael Zuerlein as Bill Austin has a somewhat utilitarian approach to the role while Christian Whelan as Sam Carmichael appears downright uncomfortable much of the time.
However, the general spirit of high energy and joy remains despite periodic harshness in the sound, a problem that often hits touring companies new to a theatre.
It is worth noting that although the original directing team is still credited, Phyllida Lloyd and co. are rarely hands on when it comes to remounts so the show is unlikely to have the same degree of sparkle and tautness as the original.
But it is still worthwhile thinking back to the spandex era and saying I Do, I Do, I Do to another evening with Mamma Mia. This could be the last time around the block.
Mamma Mia continues at the NAC to November 20, 2011.
Ottawa, Iris Winston
November 17, 2011
Mamma Mia
at the National Arts Centre
Book by Catherine Johnson
Music and lyrics by Benny Andersson and Björn Ulvaeus and some songs with Stig Anderson
Director: Phyllida Lloyd
Music supervisor: Mmartin Koch
Music coordinator Talitha Fehr
Choreographor: Anthony van Laast
Lighting: Howard Harrison
Sound: Andrew Bruce and Bobby Aitken
Broadway Across Canada touring production at the National Arts Centre
Cast:
Sophie Sheridan……………………….Chloe Tucker
Ali………………………………………Stephanie
Tanya……………………………………Alison Ewing
Rosie…………………………………….Mary Callanan
Donna Sheridan………………………….Kaye Tuckerman
Sky……………………………………….Happy Mahaney
Pepper…………………………………….Ethan Le
Bill Austin…………………………………John-Michael Zuerlein
Sam Carmichael……………………………Christian
Ensemble:
Jeff Applegate, Justin Berkobien, Julius Chase, Hannah Elless, Eileen Faxas, Thomasina E. Gross, Carole Denise Jones, Marlene Martinez, Benjamin J. McHugh, Brian Ray Norris, Merrill Peiffer, Christopher Sergeeff, Jennifer Swiderski, Travis Taber