Above : Sarah Krndija as Sophie Sheridan. Featured image: Jordan Tomljenovic and Company. Photo credit : Getty Images-James D Morgan.
MAMMA MIA!-THE MUSICAL – Sydney, here we go again! The musical’s run represents yet another classic musical theatre blockbuster in revival across our city. These have included HAIRSPRAY, JOSEPH AND TECHNICOLOUR, BEAUTY AND THE BEAST, and soon WICKED. MAMMA MIA THE MUSICAL! plays at The Star’s Lyric Theatre for just ten weeks.
It is always a joy to witness this show’s perfect insertion of twenty-two ABBA songs into the story, which emerge not as a mere jukebox musical run sheet but meld so well into the stage scenarios, enabling consolidation of a mood and expression of feelings.
The story is set on a Greek island where single mother and ex-performer Donna Sheridan (here played with believable predicament by Elise McCann) has raised her daughter of
unconfirmed parentage (played with genuine charm and sweet energy by Sarah Krndija) to early-marrying age, engaged to the fit and earnest Sky (Lewis Francis).
The guests at this wedding include Sophie’s shortlist of fathers and her mother’s old rock chick friends Tanya (the triple threat talents of Deane Zanotto easily answering the challenges of her character) and Rosie (comic timing virtuoso Bianca Bruce).
The opportunity for principals and ensemble to wow us continually has made this musical succeed worldwide since 1999, with record-breaking versions translated for performance in China and Russia.
The shows popularity is achieved through mood flicks from recognisable, tense scenes for family, friends, lovers and ageing men and women to cutting comedy, visual humour and pack-mentality moments of exuberance for locals and wedding visitors- all to a soundtrack of loved ABBA songs.
This musical has survived and eclipsed the 2008 film version to return to a more focussed, compact stage space. In a theatre the cheeky, dynamic ensemble dance scenes have heightened impact and here they were prepared to thrill. In this version the choreography conceived by Tom Hodgson is maintained to a level of en pointe excellence by resident choreographer Dion
Bilios.
Above: Elise McCann and cast perform ‘Money Monery Money. Photo credit : Getty Images-James D Morgan.
MAMMA MIA’S stage set up is comparatively intimate. The set changes only slightly during the show for bedroom scenes, but all action takes place around some form of Donna Sheridan’s taverna backdrop. Such intimacy and economy of set in this version, as in others, allows the performances and slick movement to burst forward from the stage.
As in the movie imitation, the scene with Tanya and island boy Pepper, (played perfectly by Jordan Tomljenovic to Does Your Mother Know), is a powerhouse chase across the space leading to a sequence which is a highlight of the group dancing work.
In contrast to the movie, all principals in the current stage version are in powerhouse secure, strong voice with their individual tone well characterised. Here we also witness singing and dialogue with a welcome vernacular antipodean twang rather than American vowel sounds in strict copycat of Broadway.
The company had us engaged from the outset with integrity plus talent packaged on display. From Donna’s Money, Money, Money lament, complete with slick interjections from the ensemble jumping out of crumbling taverna doors, we were in for a treat of a show.
This show succeeded in following its creative brief of combining dancers, singers, comedians and super-famous songs in a performance demanding great momentum as well as the reduction at times to much smaller scope evocation of sadness or regret.
In this way, the current version and cast ably mirror the gist of much of ABBA songs’ inimitable humanity and what quickly became their recipe for creative and concert success.
Above: An engaging engaged couple, who work well in and with the ensemble cast: Sarah Krndija as Sophie and Lewis Francis as Sky. Photo credit : Getty Images-James D Morgan.
Martin Crewes’ version of Knowing Me, Knowing You was equally spot-on, with an ABBA-esque heart-on-the-sleeve sentiment, whilst his character and looming potential fatherhood status dealt with
the status quo, the past and conflict. Elise McCann’s version of Slipping Through My Fingers and The Winner Takes it All also shone brightly in this regard, with raw but controlled vocal tone to match the emotion.
Hectic and over-the top commentary or reaction was provided with skilful comic timing as well as sensitivity by Drew Livingston as Harry Bright and Tim Wright as father hopeful number three, Bill Austin.
Austin’s Act Two scenes with Bianca Bruce’s former Dynamo act member Rosie are dynamic, almost scene stealing, at the start of the wedding. Rock chick and friend of Donna’s, Bianca Bruce, lights up the stage with a string of split-second visual gags.
Deserving of much applause too is the performance by Sarah Krndija as Sophie. With crystal-clear characterisation and equally clear voice, this emerging musical theatre talent carves up the stage in each scene. Her quirky Under Attack nightmare scene is especially commendable and each time she sings the opening to I Have a Dream in the show your heat will melt a little, perhaps a lot.
This musical has been on Australian stages for twenty-two years. The current version is far from a tired reiteration, with the cast and creatives giving it a significant burst of life, proving to truly be the name of the game for crowds attending.