Review: Mamma Mia!
Jukebox musicals are a successful format: popular songs reworked into a stage show that attracts diehard fans, and introduces up pre-loved hits to new audiences. Mamma Mia! is a highly successful example of the genre, having now run almost continuously for over 20 years (aside from a short COVID- break), with a large number of touring productions. Mamma Mia! was also one of the highest-grossing films of 2008, with a successful 2018 film sequel.
Such popularity is not without its challenges for an amateur production. Audiences will tend to know the story, can probably sing along to each of the musical numbers, and have the film as a reference as to how characters should be portrayed. Fortunately, the Savoyards team has a strong reputation, with a team of talented performers and creatives that has worked hard to attract an enthusiastic audience.
Skip this paragraph if the story is new to you, however…as this is purely for those not familiar with the storyline… in planning for her wedding, the 20-year old bride invites the three ‘possible father’s’ to come to her Greek Island home, hoping that this might encourage Donna (her single mum) to identify who her father is (or, at least, that she will ‘recognise’ her Dad). Oh, and Donna was a member of an all-girl band in her youth, so the wedding is also an opportunity for the two backing singers to join the party….. summary over!
My personal highlights of the evening centred on the work of the Ensemble, Dancers and Choreographer. Excellent choreography (Desney Toia-Sinapati), with fantastic work by the Dancers (Jaydene Alesana, Emma Bettinson, Jessica Boersen [Dance Captain—Dancers], Romy Devlin, Alanah Giles, Miranda James, Kim Kee, Mahalia King, Maddie Smallhorne, Rebecca Thorne & Tatijana Wills) and Ensemble (Serena Altea, Gabriella Ambrey, CJ Avery, Mackinlay Carr, Quinn Chambers, Sophora Cliff, Allie Cowie, Kylah Davis, Jake Ewan, Jeremy Harris, Alex Holmes, Chelsea Johnson, Holly Komorowski, Sarah-Jane Lakshman, Isabella Maric, Jacqui McKell, Rachel Peake, Melissa Quinn, James Riley, Anne Roche-Kelly, Tracey Rowland, Lea-Anne Smith, Kinta Suryadarma, Dayna Thomas, Andrew West, Lynette Wockner [Dance Captain—Ensemble] & Sylvia van der Weyden).
Desney Toia-Sinapati did an amazing job with a cast of thousands (ok, well, cast of around 50), with some well-drilled and creative choreography that even the non-dancers in the cast could enjoy. Difficult to pick just one number, but the first half high-energy ‘Gimmie, Gimmie, Gimmie’ and ‘Voulez-Vous’ were so good that I’d love to have seen a first act encore. And the Ensemble not only worked hard at the various dance moves, but also delivered some great pieces of theatrical ‘business’ and excellent harmonies throughout the whole show.
Mamma Mia! is a light-hearted musical, and the cast played each of the humorous pieces with relish. Of the dozen principal roles, the female cast members have the biggest share of the vocals. Vanessa Wainwright (Donna) and Stephanie Lee-Steere (Sophie) portrayed a believable mother-daughter relationship, but appeared more comfortable when accompanied by the Ensemble harmonies and in the larger set-piece numbers. Natalie Lennox played Tanya with enthusiasm and style, and demonstrated excellent vocal work and dance moves (particularly in ‘Does Your Mother Know’ and ‘Dancing Queen’). Jacqueline Atherton was a great choice for the comic role of Rosie, particularly in the entertaining ‘Take a Chance on Me’ duet with Andrew McArthur, although I wasn’t at all convinced as to the need for Rosie’s ‘Brum’ accent.
The male roles were well-cast, acting as plausible romantic leads who were equally capable of emphasising the humour of the piece. Highlights were ‘Does Your Mother Know’ (dominated by Lennox, with Joshua Brandon [Pepper] as an entertaining foil), ‘Lay All Your Love on Me’ (fabulous ‘flipper’ dancing by the boys), and Atherton and McArthur’s ‘Take a Chance on Me.’ Andrew Dark rose to the challenges of the role of Sam, with a poignant ‘Knowing me, Knowing you’ and joyful vocals in ‘I do, I do, I do’ (both much better that Pierce Brosnan’s vocals in the film version). And Matthew Bennett (Sky) provided us with a convincing love-struck young groom, supported by his two fun-loving friends Joshua Brandon (Pepper) and Michael Chazikantis (Eddie).
Coming away from an enjoyable night out, I felt that the second Act (with the possible exception of ‘Under Attack’, which is not my favourite number, and ‘Our Last Summer’) was much stronger and had a better pace. But there were highlights in both Acts, and I am certain that audience members will leave this production with toes tapping, Abba music on high car-araoke rotation, and smiles on their faces.
The Savoyards’ Mamma Mia! is an amateur production, but the standards are always high—including costumes (Kim Heslewood & Team), and set design and construction (Justin Tubb-Hearne and colleagues). The team is not always able to call on the latest technology—and there were a few problems with sound cues, occasions when the band was too far forward in the mix, and a little ‘feedback’ on the opening night. But congratulations all round to Johanna Toia (Artistic Director), Nicky Griffith (Musical Director) and Geoff Secomb (Executive Producer) on yet another memorable Savoyards production.
Verdict: An enjoyable and good-value Savoyards show. ‘Take a Chance’ on Mamma Mia!, which has great set pieces, a number of humorous moments, and entertaining ‘Dancing Queen’ moves.
Audience information: Mamma Mia! has only eight Savoyards’ performances, from 24 September to 8 October, 2022, at the Iona Performing Arts Centre, Iona College, 85 North Road, Lindum, Qld, 4178. Tickets $30-52 (plus transaction fees). 2 hours 30 minutes (including 20 minute interval).
The reviewer attended the Saturday 24 September 2022 opening night performance.
NOTE: Savoyards poster includes photography by Mark Duffus (photography not by Creative Futures Photography)
Music and Lyrics by Benny Andersson and Björn Ulvaeus, and some songs with Stig Anderson. Book by Catherine Johnson. Originally Conceived by Judy Craymer. Licensed exclusively by Music Theatre International (Australasia).