Novello Theatre, London
Approximately 20 to 21 years ago, Donna Sheridan met three men within a short space of time and… dot dot dot! Mamma Mia! remains as spectacular a West End hit as it has for the past 19 years, entertaining audiences of a wide age range. In fact with the show almost as old as Donna’s daughter, Sophie, it couldn’t have been a better time to revisit a show I’ve seen a grand total of six times now.
Abba’s songs have always stood the test of time – if they hadn’t been successfully filtered through various decades, the show wouldn’t have worked at all. The popular hits are surely one of the main draws to this particular musical, and nobody in the audience is out of place if they sing along. Unless they’re louder than the lead during a ballad of course.
The striking feature with this latest incarnation which has undergone a recent cast change is that I truly feel I have witnessed the best combination when it comes to casting for Donna, Tanya and Rosie. The chemistry between Sara Poyzer (Donna), Kate Graham (Tanya) and Ricky Butt (Rosie) was so unbelievably natural, infectious and gripping that it rivalled that of Streep/Baranski/Walters in the movie version.
The trio were simply electric together and their delivery of such favourites as ‘Dancing Queen’, ‘Super Trooper’ and the hilariously choreographed ‘Chiquitita’ was simply musical theatre magic at its best. While in previous trips to see the feel-good show I’ve always left the auditorium with a smile on my face and a spring in my step, I left reluctantly on this occasion as I had an over-riding feeling of desperately needing to see the show again… right there and then.
Of course, the triplet of triple threats were not alone in creating such an overwhelmingly engaging atmosphere, their male counterparts were equally talented super troopers. From Dean Read’s palpable love-struck Sam Carmichael to Neil Moors who was understated yet extremely likeable as the wannabe spontaneous Harry Bright to free spirited Aussie Bill Austin who is played with astonishing verve and impeccable comic timing, by Stephen Beckett. Add Georgia Louise to the mix as antsy bride-to-be, Sophie who’s seeking out her father so he can walk her down the aisle – Georgia gave a beautiful performance. Alec Porter was well cast too as her husband-to be, Sky, another triple threat to watch out for.
The set transports you to a Greek island quite effortlessly with simple, effective and practical staging, almost minimal which allows the sheer energy of the musical to take the limelight. There’s not one weak link in an ensemble who each characterise the roles they play, brilliantly. The orchestra were a joy to hear, powerful and a match for the fine vocalists who sing Abba’s technically stringent back-catalogue as if it’s second nature.
Do you need to be a fan of Abba to enjoy the twists, turns and laugh out loud comedy of this gleeful show? No! Even if you’re not a fan of Abba’s music, I wager that a trip to see Mamma Mia might just convert you.
Book your tickets now: Mamma Mia Tickets
Photo Credits: Brinkhoff/Mogenburg