The 1970 ABBA sound exploded its way into the 21st century at
the Orpheum Theatre opening night with the transported, joyful
London musical
”
Mamma Mia!
”
The plot is interwoven around 22 ABBA hits and is an upbeat
delight. The star of this show is without a doubt the music.
The 1970 ABBA sound exploded its way into the 21st century at the Orpheum Theatre opening night with the transported, joyful London musical “Mamma Mia!” The plot is interwoven around 22 ABBA hits and is an upbeat delight. The star of this show is without a doubt the music.
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 run for ABBA who has gone on the sell over 450 million records worldwide. (The name ABBA comes from the first letter of the first names of the original group.) The chart-topping group has been offered a billion dollars to reunite after 30 years. They have politely declined.
Benny Anderson and Bjorn Ulvaeus bring the music and lyrics to “Mamma Mia” and audiences become mesmerized with the sound of their past. The show has been playing in London for nine years, on Broadway for five years and in major cities all over the world, (in the language of the country), to sold-out performances. (I’d trade my iPod to see it in Japanese or German)
There are currently more productions of “Mamma Mia!” playing around the world than any other musical, a total of 10 global productions (eight resident and two tours) The “Mamma Mia!” phenomenon has been seen by more than 30 million people worldwide.
This show is a simple example of the old adages that “less is more” and “it’s not what you do it’s how you do it.” No monstrous special effects, glitzy costumes or glamorous sets. Choreography is spontaneous, unpredictable and delightfully British. Lighting is creative and subtle and transports a simple set to the situation at hand. Four keyboards, two guitars, an electric bass and a huge percussion section that doesn’t blast the patrons out of the theatre aptly handle the music.
The plot takes place on a small Greek island. It is sweet and simple and revolves around a wedding day. The bride (Sophie) wants her father to give her away. The problem arises from there being three possible fathers, so Sophie quietly invites all three under false pretenses. Mama (Donna) an American single parent must reluctantly face the possibility of confronting the three men she hasn’t seen in 20 years. The story is really only a vehicle to bring 22 ABBA hits like “Knowing Me, Knowing You,” “Money, Money,” “Super Trouper,” “I Do, I Do, I Do,” “Dancing Queen,” “The Winner Takes All,” “Mamma Mia” and a slew of others into the unlikely tale. The transitions and blending of story and song are well done and moves at an enjoyable, speedway pace.
Mary Jane Raleigh, who plays Donna, carries the show. She belts out the ABBA songs with a strong, clear voice. The rest of the cast seems diluted as compared to four other “Mamma Mia!” productions I have seen.
The real magic usually happens after the final bows in the last fifteen minutes of this show when Donna and her gal-friends and cast reprise the upbeat music with the amazing ABBA harmony. The audience is usually on their feet dancing in their seats and the aisles. It almost didn’t happen this time. They finally got us on our feet but the magic just wasn’t there.
“Mamma Mia!” is a grand frolic and if you have never seen it before you probably won’t notice the difference the music will make up for anything missing and you will leave the theatre with a grand legal high and sounds of music you can’t get out of your head.
