Review: Broadway Across Canada's MAMMA MIA! at the National Arts Centre

Broadway Across Canada ends its 2025-2026 season in Ottawa with the immensely popular Mamma Mia!, a jukebox musical featuring 22 songs by disco superstars, ABBA.

In the musical, Sophie (Juliette M. Ojeda) sends wedding invitations to three men who may or may not be her dad - behind her mother's (Jessica Crouch) back. This creates pandemonium as Sophie tries to figure out which one is really her dad (and Donna tries not to blow her fuse). 

As part of its 25th anniversary celebrations, Mamma Mia! set out on a new North American tour. Having seen the national tour in 2005 and the "farewell tour" in 2016, I arrived expecting more of the same, but this cast swept away my indifference within minutes. Their energy is electric and they pull the audience into the story with an infectious enthusiasm.

Jessica Crouch (Donna) is a powerhouse. Her vocal range is slightly limited, but, wow, can she hold a note! “The Winner Takes It All” earned Crouch some deserved extra-loud applause. Alex Lanning (who understudied Rosie on the night I attended) is playful and supportive of her friend and strikes a perfect balance of funny and sincere in her main number, “Take a Chance On Me”. Jalynn Steele (Tanya) is the comic relief character, and the actress fully embraces this role she perfected during its Broadway run, completely owning it in a sassy, commanding performance, especially in the hilarious “Does Your Mother Know”. All three shine brightly in "Chiquitita".

Sophie's trio of possible dads are unsurprisingly well cast, since two of the three embodied their roles on Broadway prior to this tour. Victor Wallace is Sam, Donna's ‘one that got away’, and both actors successfully recreate the chemistry of star-crossed lovers who are given a second chance at happiness. Leland Burnett is Bill, the intrepid traveler: savvy, adventurous, and always up for a new challenge. Rob Marnell's Harry is a stuffy, socially awkward businessman with a backstory of short-lived rebellion. The intential diversity of each of Donna's former flames shows that one can find common ground with anyone.

Ojeda is perfect as Sophie, the starry-eyed girl who believes she will know which of the three men is her dad is as soon as she sets eyes on him. Her naïveté is what keeps the audience rooting for her, despite the reckless selfishness of her actions. Grant Reynolds (Sky) has a much smaller role but acts as the perfect counterpart to Ojeda: grounded, logical, and occasionally putting his foot in it. 

The ensemble is the backbone of this production. The big musical numbers are the most memorable because of Anthony Van Laast’s impeccable choreography, made even more complex, difficult, and genuinely impressive with the costumes (Lucy Gaiger). The ensemble's perfectly synchronized steps, lifts, and kicks elevate each number, especially in “Money, Money, Money, Money”, “Lay All Your Love On Me”, “Voulez-Vous”, “Under Attack”, and “Does Your Mother Know”.

Sound is unfortunately, but predictably, uneven at the National Arts Centre’s Southam Hall, leading to the only flaw in this production. I really wish Broadway touring productions would have consistently good sound, but this is a recurring issue at this venue.

While admittedly, Mamma Mia! isn't very deep, it has everything a great jukebox musical should: a cohesive, feel‑good narrative, a repertoire of familiar songs, vivid costuming, and an eclectic ensemble of characters. These elements deliver an entertaining night of music and spectacle that leaves the audience smiling and feeling energized. 

Mamma Mia! is like a burst of sunshine at a time when it’s easy to feel weighted down by a constant stream of negative news. As a summertime production, it offers exactly what many people crave: a fun piece that lets you step into the theatre and out of the real world for a couple of hours to simply enjoy the ride.

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