Mamma Mia! – Birmingham Hippodrome

Book: Catherine Johnson

Music and Lyrics: Benny Andersson and Björn Ulvaeus

Director: Phyllida Lloyd

Approaching its 30th anniversary, Mamma Mia! has firmly secured its place as a global sensation. Performed in more than 60 countries across six continents and adapted into two blockbuster films led by Meryl Streep – with a third reportedly in development – it remains one of the world’s most beloved musicals. A guaranteed crowd-pleaser, the show continues to attract packed audiences on the strength of ABBA’s iconic songs and status alone.

The story unfolds on a beautiful Greek island where wedding preparations are in full swing. Beautiful bride Sophie (Lydia Hunt) is determined to discover which of three men is her father, and so she secretly invites them all to her wedding to Sky (Joe Grundy), much to the surprise of her mother Donna (Jenn Griffin).

Weaving together twenty-two of ABBA’s greatest hits, it is obvious that Mamma Mia! prioritises spectacle over story. The book by Catherine Johnson is charming but rather thin and formulaic, acting primarily as a vehicle for the iconic songs penned by Benny Andersson and Björn Ulvaeus. The direction, too, can feel somewhat formulaic, as if it is faithfully adhering to a structure that has been in place since the show’s inception, rather than reimagining it with fresh perspective.

Perhaps this goes some way to explaining why the production can feel a little stilted at times, with chemistry that never really ignites. That lack of connection is particularly clear in numbers such as SOS and Slipping Through My Fingers, which, despite their emotional weight, don’t quite land as powerfully as they should.

For a story rooted in an emotive mother–daughter relationship, the bond between Jenn Griffin’s Donna and Lydia Hunt’s Sophie feels underdeveloped on stage. The same issue applies to Donna and Luke Jasztal’s Sam, where the relationship feels told rather than shown, and the chemistry between Griffin and Jasztal is notably limited. The casting choices further complicate this, with Griffin and Hunt appearing too close in age to convincingly read as mother and daughter, while Jasztal’s silver hair gives him a far older presence than the role seems to require.

Overall, while the performances are solid and committed throughout, they don’t always move beyond that, leaving the show enjoyable but lacking a little of the spark and overall oomph that it needs. That said, there is still plenty of impressive talent on stage. Lydia Hunt’s Sophie is a standout, capturing a wide-eyed innocence alongside a steely determination beneath the surface, with genuinely impressive vocals throughout. Jenn Griffin’s Donna is vocally excellent, commanding the score with ease, particularly in a triumphant rendition of The Winner Takes It All, though the emotional depth of the character doesn’t always fully land. Sophie’s three potential fathers are also well served, with Richard Meek as Harry, Mark Goldthorp as Bill, and Luke Jasztal as Sam each bringing distinct charm and humour to their roles, helping to keep the narrative momentum moving. As Donna’s best “gal pals”, Rossie Glossop and Sarah Earnshaw often steal the show as Rosie and Tanya, providing comedic flair and moments of brilliance. Earnshaw’s performance of Does Your Mother Know? alongside a very charismatic Joseph Vella as Pepper, is one of the absolute highlights of the night.

Packed with a plethora of ABBA hits, this remains a nostalgic night out for fans of the Swedish supergroup. For everyone else, it offers sun-soaked escapism set to a feel-good soundtrack that is hard not to enjoy. This touring production doesn’t attempt to break new ground, but Mamma Mia! has been winning over audiences for over twenty-five years for good reason. There is still something undeniably joyful about a show that brings audiences to their feet night after night, leaving them humming Waterloo on the drive home.

Runs until 30 May 2026 and on tour