WHEN asked what the difference was between the 1934 version in black and white of his thriller The Man Who Knew Too Much, and the 1956 remake in technicolor, the great Alfred Hitchcock replied: “The first was the work of a gifted amateur, the second of a seasoned professional” – and the same can be said about this highly polished and slick production, compared with the original 1999 presentation.
The spontaneity that marked that production, based on the terrific book written by the then-Bristol-based playwright Catherine Johnson, has been replaced by the highest modern production values that speed this show on its way like a brand new Rolls Royce, fresh from the salesroom. Catherine Johnson had been brought in to listen and look at the cast improvisations that linked the music from previous ABBA hits. What she came up with was a storyline that makes this probably the best juke box musical in the calendar, and, under Phyllida Lloyd’s firm direction, it proved to be a genuine hit.
The 22 of ABBA’s greatest hits included could (in this script) have been written especially for the show rather than taken from smash hit recordings. They are of course gifts to any singer, and having evoked the era of platform boots and mini skirts along with her old girl band buddies Tanya (Marisa Harriss) and the ebullient Rosie (Rosie Glossop) with Super Trouper, Jenn Griffin’s Donna, the independent owner of the Greek Island taverna, came up with a real show stopper in The Winner Takes it All.
Understudy Sarah McFarlane stepped into the role of Donna’s feisty daughter Sophie, who cause mayhem by inviting the three men – banker Harry Bright (Richard Meek), architect Bill Austin (Mark Goldthorp) and adventure writer Sam Carmichael (Luke Jasztal). all of whom could be her father – to her wedding to the handsomely upright Sky (Joe Grundy). Sarah gave notice to all concerned that she is ready, willing and very able to take on lead roles at any time.
There is no sign of unrehearsed choreography as the backing to number after number has some exciting movement to go with the vocals, often with Pepper (Joseph Vella) and Eddie (Ethan Casey-Clothier), two of Donna’s handymen, at the heart of things. There are also some lovely set pieces of comedy within the vocals, adding a new look to some of those well-loved ABBA songs.
It helps of course if you are an ABBA addict, but even if you are not there is plenty to enjoy in this expertly-produced and well-sung musical, a top class example of what can be done with a juke box musical if you have enough talent on stage and behind the scenes.
Mamma Mia is at the Bristol Hippodrome until Saturday 22nd November, and can be seen later at Truro’s Hall for Cornwall from 2nd to 13th January 2002 and in Bournemouth’s Pavilion Theatre from 28th July 28th to 2nd August next year.
GRP