Any fairly seasoned or routine theatre-goer has a certain expectation for crowd makeup at certain shows. The niche, hyper-baroque, perhaps one person piece—the crowd is replete with art majors, the wandering scraggly dude wearing overalls with nothing underneath as a form of expression. Edgy musicals, potentially featuring puppets or Andrew Jackson will have crowds stacked with the more avant-garde choir nerd who discovered themselves in college. And then, there’s the crowd that flocks to Mamma Mia! Typically, overly giddy hordes of folks who rocked out—with various manifestations of their groove things shaking—to the sex-laced disco/pop hits of ABBA in their bedazzled prime in the 70s flock to see Mamma Mia! The Pittsburgh CLO’s recent production of Mamma Mia! was in no way an exception, as the Benedum was filled to the breaking point with ebullient, giddy beyond compare, dressed-to-the-nines, ready to practically claw their way on stage to follow the musical journey set to ABBA’s greatest hits.
And indeed, a massive factor in the success and excitement that goes with witnessing Mamma Mia! on stage is the enthrallment of the crowd and the participatory element that feeds the actors rapture conducting their performances. The story is simple and enjoyable convoluted: Sophie, a beautiful young girl about to wed the love of her life, mails out three wedding invitations to three men, one of whom she assumes to be her father based on her pillaging her mother’s old diary. As the wedding preparations reach a frenetic pace, and her unwitting mother’s eccentric friends (and also, importantly, former band mates) descend upon the scene, the twists and turns of Sophie’s mother’s relationships with the three men—and the truth behind Sophie’s real father—is divulged and unravels, moments up to the “I Do, I Do, I Do, I Do.” There is nothing particularly emotionally wrenching or complex in the characters’ interactions, nor does the plot demand a great deal of attention from the audience. Thus the songs, the exquisite grandiosity of the stage direction and choreography, and the pure performative spectacle of the show can command the rapt audience’s full attention.
Resounding critical applause should be given to the all those in charge of and involved in the choreography of the show. Beyond flawless and matching the pacing and throbbing, feverishness emotions of each song, the choreography and the supporting cast of dancers were—and this is a characterization I hesitate using—utterly transcendent. The stage motion and dance accompaniments were so spot on, so spirited, and so technically precise that they would have awed perhaps the more skeptical audience member (and there were certainly several fourteen year old boys who needed convincing). While the younger members of the cast certainly held their own—as well as the pleasantly caricatured men playing the three potential dads—the spotlight, as it is meant to, was claimed gloriously by the three women playing Donna (Sophie’s mother) and her two best friends/former band mates, Tanya and Rosie. While the characters are certainly archetypal, veteran stage and screen actresses Lori Hammel (Rosie), Sally Ann Triplett (Donna) and Michelle Dawson (Tanya) were every bit as luminescent as they could have been. And most importantly, they had the utterly wild and thrilled audience in the palms of their hand, thus making CLO’s production of Mamma Mia the ultimate, incredibly fun guilty pleasure delight that it was intended to be.
Mamma Mia has unfortunately already closed but there’s still more fun from the Pittsburgh CLO this summer, for more information, click here.
Photos courtesy of Archie Carpenter.