Book: Catherine Johnson
Music and Lyrics: Benny Anderson and Björn Ulvaeus
Director: Phyllida Lloyd
There is no denying that Mamma Mia! has established itself as a global phenomenon. Drawing on the rich back catalogue of Abba songs, it is has arguably the strongest scores of any modern Jukebox musical. It certainly still has pulling power, judging by the packed New Theatre auditorium. Any show that is over twenty-five years old that can generate such enthusiasm must be doing something right.
The strength of the current touring version absolutely lies in the casting and in the choreography.
Anthony Van Laast created some memorable dance sequences and routines which still dazzle today. That creativity is enhanced by the flexibility and commitment of the cast who give it their all throughout what must be a tiring evening for them.
The casting is similarly very impressive, with many standout moments as well as excellent ensemble work. Rosie Glossop (Rosie) and Sarah Earnshaw (Tanya) threaten to steal the show with their comedic flair. And whilst Jenn Griffin takes a little while to fully embody Donna, by the time she reaches the climax of The Winner Takes It All, she has the audience in the palm of her hand. The rest of the cast is equally talented. In particular, Luke Jasztal stands out as Sam with a rich voice and winning charm.
The book is, perhaps, the weakest part of the piece. There is very little drama or character development in the dialogue, and at times, it is rather clunky in leading us into the next song.
A similar lack of depth is to be found in the direction, which now seems to restrict the freedom of the performers to create their own versions of their character, meaning that it feels as if they are recreating the original production. This is not a deal breaker by any means; however, it does mean that the direction feels rather more formulaic than fresh.
Technically, there are pluses and minuses. The lighting is evocative and pinpoint accurate. However, the sound design needs attention. The New Theatre is a notoriously hard venue in which to get the right balance, and there are many moments where the volume becomes overwhelming. Also, lyrics are frequently lost in the mix between voices and the talented band.
Visually, the costumes and set reinforce the energy and polish of the performances. It is absolutely a well put together piece of musical theatre.
The rapturous reaction from the Oxford audience shows that the flaws do not impact on the overall success of the production. It delivers the feel-good musical that everyone is seeking.
Could it be improved? Without a doubt. But it has been entertaining audiences around the world for over twenty-five years now, so there is a case for not messing with a winning formula. However, a more thorough refresh would give this great show a chance to reinvigorate itself as it approaches its thirtieth anniversary in a couple of years.
Runs until 6 December 2025 and on tour
