Move over Disneyland. The Center for the Performing Arts has
just become
”
The Happiest Place On Earth
”
with the opening of
”
Mamma Mia!
”
Move over Disneyland. The Center for the Performing Arts has just become “The Happiest Place On Earth” with the opening of “Mamma Mia!” The ABBA lovefest gets younger every time it detonates itself for a nostalgic, almost giddy, audience. For the “flower children” who were weaned on ABBA music in the ’70s, this is an elated time revisited. Yuppies and Generation Xers born after the ABBA infusion may have discovered something fabulous and new and become dedicated apostles of the ageless group. Most thought disco was dead, but ABBA never bit the dust or had to be resurrected – it has always been here.
In 1974, a young Swedish group in Brighton, England won the Eurovision Song Contest with a song called “Waterloo.” That was the beginning of a successful eight-year run for ABBA, who went on the sell more than 350 millions records worldwide.
The ABBA sound exploded its way into the 21st century with the New York production in October 2001 and when the American Music Theatre of San Jose transported the joyful London musical “Mamma Mia!” to San Jose. The plot, interwoven between 22 ABBA hits, is an upbeat delight. The star of this show is without a doubt the music. (The show was written to the music, not the usual other way around.)
The cast in this touring company is energetic perfection. The leads are pros of the first degree and belt out the music with a feeling of loving every minute. There is nothing like watching a production where the cast is having as much fun as the audience. It’s infectious.
This show is a simple example of the old adages “less is more” and “it’s not what you do, it’s how you do it.” No monstrous special effects, glitzy costumes or scenery, just plain well-trained talent in every aspect. Choreography is spontaneous, unpredictable and delightfully British. Lighting is creative and subtle and transports a simple set to the situation at hand.
The plot takes place on a small Greek island; it is sweet, simple and revolves around a wedding day. The bride (Sophie) wants her father to give her away. The problem: there are three possible fathers, so Sophie secretly invites all three under false pretenses. Mama (Donna), an American single parent who runs a Greek style bed and breakfast, must reluctantly confront the three men she hasn’t seen in 20 years. The story is really only a vehicle to bring ABBA hits like “Knowing Me, Knowing You,” “Money, Money, Money,” “Dancing Queen,” “Mamma Mia!” and a slew of others into the tale. The transitions and blending of story and song are well done, sometimes fittingly campy and the production moves at speedway pace.
Benny Anderson and Bjorn Ulvaeus bring the music and lyrics to “Mamma Mia!” and audiences become mesmerized. The show was originally brought from London to open in Toronto, Canada, and has since played to sold out performances in London, New York and Las Vegas. Ten touring companies like this first-rate production travel the globe and three are in the U.S. It is estimated that 30 million people have seen “Mamma Mia!” worldwide.
The audience became so involved with the 15-minute reprise at the closing that a blanket of warmth, happiness and well being enveloped the theater. The euphoria of the moment is amazing and well timed. In a moment of our history when we don’t know if we should laugh or cry, this is just the ticket. Go get one – you’ll be glad you did.
