Mamma Mia - musical review

Now more than ever in this generation, when the world seems alarmingly chaotic, there's no better tonic than sparkles, platform boots, and a bit of ABBA, while pretending to gallivant around a Greek island. With immense West End, regional, and international successes over the last 27 years, Mamma Mia is a blueprint example of refining a musical, and maintaining its perfected format to forever keep bringing joy to audiences.

Sweeping the globe as a beloved hit film - now with sequel and third on the way - the iconic storyline, following Sophie Sheridan's search for her father, is well-translated to the stage. The show is a total cocktail; a great mix for those with good taste. A swirling soundtrack, including some of ABBA's biggest sensations, becomes the backdrop for a narrative which, on the surface, is a lighthearted one of wedding preparations, packed with fun, laughter, and dancing - with (some subtle, some less so subtle) innuendo dotted about too. However, beneath this, it actually becomes as much a story about Donna and motherhood, alongside themes of connection and identity that offer a deeper perspective.

This UK tour has a stellar cast, all exhibiting seemingly infinite bouts of energy. Their non-stop committal to the piece brings to life every ounce of the party, with electric choreography by Anthony Van Laast absorbing the whirlwind plot in its path. Lydia Hunt flourishes, giving divine vocals to the role of Sophie, and embodying her pivotal character with grace and beauty. Her two sidekicks, Ali (Bibi Jay) and Lisa (Eve Parsons) bounce their bubbly personalities off one another; a neat reflection of the dynamos, soon to be introduced. While taking a more cheeky approach to helping around the taverna, the boys, Eddie (Ethan Casey-Clothier) and Pepper (Joseph Vella) are always about to cause some flirty mischief, as Sky (Joe Grundy) prepares to settle into married life.

Donna - remarkably conveyed by Jenn Griffin - is such an underrated part in the theatre industry, as many motherly figures often are, while fulfilling some of the most complex tracks and character development. Rosie (Rosie Glossop) and Tanya (Sarah Earnshaw) form her counterparts and lifelong besties, each bringing their contrasting experiences to fuel an abundance of humourous quips. Sticking with the winning rule of threes, Sophie's potential father comes in the offering of Harry 'Headbanger' Bright (Richard Meek), interpid explorer, Bill Austin (Mark Goldthorp) and artist/architect, Sam Carmichael (Luke Jasztal), again, utilising their stark differences to forge an identity on the island.

Giving a contextual meaning to ABBA's lyrics, for the most part, the songs slot in nicely to the foundations. Plenty are featured, from the hugely popular 'Dancing Queen' to the lesser known 'Under Attack', assisting with the journey through the lead up to Sophie's white wedding. 'Money, Money, Money' and 'Mamma Mia' provide creative storytelling, with these, and many others well-utilising the company by demonstrating thoughtful staging; direction by Phyllida Lloyd. 'Lay All Your Love On Me', 'Gimme, Gimme Gimme' and 'Voulez Vous' foster that energetic spirit, in contrast to the emotional destruction caused by having the poignancy of 'Slipping Through My Fingers' followed by 'The Winner Takes It All' in the second act, at the pinnacle of the production. Paradoxically, Tanya shines in 'Does Your Mother Know', and Rosie, subsequently, with 'Take a Chance On Me', getting their own amusing moments to rule the stage. The more lowkey nods to 'Fernando' and 'Summer Night City', where they didn't quite fit the main list were a welcomed bonus, too. As an established touring production, the Greek taverna set has its simplicity adorned with effectiveness. Slick, fast paced movement or heartfelt reflection fills the space, leaving no need for an overly ornate backdrop for enhancement.

As long as you're not of the mindset that a genetics test would be better than 3 dads dancing in lycra, Mamma Mia is a timeless, must-see musical. It is no surprise that it has become so wonderfully esteemed, as dancing out of the auditorium, singing a tune with a smile on your face is purely guaranteed.