“Abba” has sold hundreds of millions of records worldwide, but they would have been even bigger in the United states if they’d toured and promoted here more heavily. Instead, they were widely seen as a Swedish novelty act, a fad band, for decades.
Even the arrival on Broadway of “Mamma Mia!” in 2001 didn’t immediately change that. But almost a quarter a century later, anyone sitting in the Winter Garden Theatre, or merely reading the boffo grosses of the musical during the preview performances these last few weeks could see that U.S. audiences are as hungry as ever for the “Mamma Mia!” brand, thanks in part to the movies and maybe the uptick in vinyl and disco nostalgia.
All the producers did this summer was stick the touring production on Broadway to fill an empty theater for the summer. It’s the same diminutive set I saw just a few weeks ago and the cool jetty that arrived at the show’s climax got cut years ago and has not returned. Why waste the money?
For those who’ve seen that tour half a dozen times, the only surprise is the addition of more live musicians for Broadway, union minimums being a helpful thing in this case. Actual acoustic sounds have replaced some pre-programmed tracks. Awesome! Benny Andersson’s synth work on the Yamaha GX1 and the Moog Polymoog is legendary but “Mamma Mia” combined the original sound with Martin Koch’s clever theatrical arrangements, and it needs lots of humans in the pit.
Happily, that touring cast starred Christine Sherrill as Donna, a star who lacks only name recognition. Sherrill’s massive but vulnerable belt is ideally matched for this material. She’s the best Donna of all time in my book, and I’ve seen a dozen or more from London to Las Vegas. Never has a Donna better nailed “The Winner Takes It All,” the show’s brilliant idea to rehab a tragic break-up song that had been rendered weirdly up-tempo in Abba’s original recording. The rest of the cast is just fine; the oldsters give the material respect while having fun, and the kids all seem delighted just to be there.
I remember vividly seeing “Mamma Mia!” at London’s Prince Edward Theatre just prior to its opening. People went berserk with delight. The whole concept of a jukebox musical — an original story told with songs people already knew well — was unknown back then. Patrons giggled with excitement as they wondered how, say, “Does Your Mother Know?” would be used since the order of the songs was hidden in the program.
Back in 1999, the all-female team of writer Catherine Johnson, producer Judy Craymer and director Phyllida Lloyd crafted a brilliant ABBA delivery mechanism, nothing more, nothing less. It was a simple story about a single hippy mom who had slept with at least three guys on the beach in Greece and later produced a daughter, Sophie (Amy Weaver). As she prepares to get married at her mum’s taverna, Sophie invites all three of her potential dads to the nuptials.
Add in two sidekicks for Donna (Jalynn Steele and Carly Sakolove), two for Sophie (Haley Wright and Lena Owens) and you had a story that understood that emotional mother-and-daughter stories are a goldmine in musical theater, since that is who likes to go see them.
“Mamma Mia!” has the youth POV (well, it did) and also lots of songs of parental regret (“Slipping Through My Fingers” and so on). I can’t overstate my respect for the show; it’s a masterpiece of its populist kind, much imitated but never equaled.
Sure, the chronology doesn’t make sense any more. If the “dot dot dot” shenanigans were happening in 1979, as they say, Donna would be 70 now, which she’s clearly not. But then maybe “Mamma Mia!” is still happening in 1999, given that no-one has phones or taverna websites or knows much about DNA tests. But no book refresh was forthcoming; “Mamma Mia” remains timeless, stuck in the eternal ABBA time warp, much like the group’s AI avatars who entertain in London, cheating age and mortality.
The big takeaway for me is that even as the U.S. underestimated this band, so Broadway underestimated this brand. It’s one of a kind. Just watch how many people will come and have fun. Limited run? We’ll see.
