By John Quinn
Review: 'Mama Mia'
ABBA Dabba Do! 'Mamma Mia' at the Fisher
Revoke my queer card if you must, but I've never been a fan of ABBA.
Reviewing a musical based on the pop group's songs, then, becomes a learning experiment. I'd rather be at, say, "Burning Down the House," a musical based on the music of Talking Heads; but, given it's "Mamma Mia," I want to know: how good is the book? How are the acting and singing and dancing?
"Mamma Mia" isn't about the music. It's about romance and forgiveness and making up for lost opportunities andÉokay, it's about the music.
The rather transparent plot isn't a mindbender. The backdrop for the Scandinavian quartet's music is a taverna on a tiny Greek Island, undoubtedly because linen and sandals are sexier than parkas and ski boots.
Young Sophie, only child of single mother Donna Sheridan, faces her upcoming wedding without ever having known the identity of her father. By reading her mother's diary she narrows the possibilities to three, and invites the old flames to the wedding in the hopes of finding out "who she is." Donna, less than enthusiastic about renewing old acquaintances, is left in the dark about her daughter's motives.
This simple story is just a skeleton on which to hang the songs; it's more than sturdy enough for the job.
But did I want acting and singing and dancing? Yes, and I got 'em. In this show even the SET dances!
"Mamma Mia" has a rather feminine sensibility. Within the script is a wealth of complex, layered female characters, versus the rather sketchily drawn males.
We are fortunate indeed to enjoy the talents of Gabrielle Jones as Donna Sheridan, our "woman with a past" and the anchor for the plot. Ms. Jones owns a beautiful voice with a powerful, emotional lower range that never seemed to tire from the exceptional amount of singing for which her role called.
Did I mention her character had been lead singer in a '70s girl group? That allows the introduction of the other two-thirds of Donna and the Dynamos, played by Cynthia Sophiea and Rosalyn Rahn Kerins. They're the equivalent of the "best buddies" in classic musicals, distaff versions of, say, Donald O'Connor or Danny Kaye. They are quick and sassy, proving that "old" girls can be as sexy and funny as the best of them. Each lady gets a "star turn" production number of her own; each is a showstopper.
Playing the role of Sophie Sheridan this past Saturday night was understudy Elizabeth Share. Her crystal clear soprano gave new definition to the lyrics (always somewhat murky on my 8-tracks), and was especially effective in duets shared with Ms. Jones.
While I'm not going out and buying a "Best of ABBA" CD, I've new respect for the entertainment value pop music can bring to the theater. Give me a stage of talented performers and even I'll start tapping my feet.
Mama Mia Staged Tuesday through Sunday at the Fisher Theatre, 3011 W. Grand Blvd., Detroit, through Nov. 15. Tickets: $32.50 – $72.50. 248-645-6666. www.nederlanderdetroit.com
The Bottom Line: "Mamma Mia" is no dance at the Nostalgia Discothque Рit's an evening of classy musical theater.
