I’ve seen this show some 14 times and I’m a huge ABBA fan. I wanted to see it again mostly to hear Christine Sherrill sing “The Winner Takes it All.”
I’ve reviewed the same original production of “Mamma Mia!”from London to Las Vegas and New York to Chicago, using up every last ABBA Easter egg in my writer’s quiver of mixed metaphors. I’ve had many. I’m a huge ABBA fan.
“Mamma Mia!,” not unlike this critic, is perpetually stuck in 1999, otherwise none of its internal dates work. If they tried to update it, Donna the Dynamo — doing the “dot, dot, dot” in 1979 with who-knows-who and spawning Sophie — would now be 70. Although I have to say, and, as one who appreciates the performative value of experience, I note this with affectionate and admiration, the three potential dads in the new touring company are, ahem, more mature than used to be the case.
Anyway, the show has a fresh cast, an especially fine supporting pair of comic personalities in Jalynn Steele and Carly Sakolove as Tanya and Rosie and all its union contracts in place. Given how well I know this show, I entertain myself by listening to see how much freedom the performers are given to vary a note or a line reading: only here and there. But they choose well.
Alisa Melendez and company in the touring musical"Mamma Mia!" at the Nederlander Theatre in Chicago.
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