1 min read
The feel-good Abba-based musical that has wowed West End audiences for a dozen years has arrived in Manchester for a seven-week run. And, as the song has it, I say thank you for the music.
I admit I had endured - rather than enjoyed - the film version and was sorely tempted to stay at home and trawl Spotify for Abba's greatest hits instead.
What a mistake that would have been. The stage show, written by Catherine Johnson, is no less silly than the movie, but it has got a lot more life, more humour and boundless energy.
For those who do not know, Mamma Mia! is the story of Sophie Sheridan (played here by Charlotte Wakefield), brought up by a single mother on a remote Greek island and about to marry. She sneaks a look at her mum's diary, desperate to find out who her father is. She finds three likely candidates and invites them all to her wedding in the hope that her real dad will give her away.
Sounds like a recipe for disaster, but crowbar in 20-odd Abba hits and it is transformed into something that is hugely enjoyable in a camp and corny. kind of way. Every twist of the story is a cue for a song - who cares that the lyrics do not match the plot?
The show, directed by Phyllida Lloyd who was also in charge of the film, really scores with some of the stand-alone comedy scenes. Three of the leading ladies - Ellie Leah as Donna (in this performance; the role is shared with Sara Poyzer), together with pals roly-poly Rosie (Jennie Dale) and posh girl Tanya (Kate Graham) - are naughty, raucous and quite brilliant reprising their days as a singing trio. Their slapstick Dancing Queen number, complete with hairdryer microphones is pure fun.
The soul-searching serious bits, the spectre of paternity that looms over the maybe-dads, the commitment issues, the big unanswered questions and the women's stuff give it gravitas. But it does not really need gravitas. It is an Abba tribute band plus panto, plus hen night, plus an extra bit of magic.
The show finishes with a cringe moment, but the plot resolution is soon forgotten after a disco party of a curtain call that had almost every member of the audience on their feet.
It is not a total spectacle, like last month's Ghost, which set new standards with its effects but did not have two memorable songs to rub together. This is a romp that works because it is so unashamedly ridiculous.