Review: MAMMA MIA! at Shea's Buffalo Theatre

Guilty as charged. I openly admit I really enjoy the ABBA musical, MAMMA MIA! There is a time and place for all kinds of entertainment, and the birth of the jukebox musical can almost certainly be attributed to kind of show MAMMA MIA has become. Now 25 years after it's opening, the national tour that is playing at Shea's Buffalo this week has audiences happily enraptured with a musical comedy that serves solely to entertain. And it most certainly succeeds.

The ABBA catalog of music and lyrics by Benny Andersson and Bjorn Ulvaeus is  a vast treasure trove of singable hits with infectious melodies and synthesized feel good instrumentals.  Book writer Catherine Johnson has written a story that is as breezy and lightweight as a warm Greek wind. Set on a small Greek isle, a young woman  is getting married and after finding her mother's diary, gets an idea..to find out who her real father may be. Twenty one years prior 3 different men spent time with her mom, Donna. She manages to convince them all to come back to her small Greek Island by mailing them each letters, signed by her mom. She just assumes she can figure out who her dad is when they get there on the eve of her wedding.

The arrival of  2 of Donna's best pals, all members of their 1970's singing girl trio, coincides with the arrivals of the 3 possible dads. It's all a tidy little story meant truly to entertain and be silly, often singing such hits as "Dancing Queen," "Money, Money, Money," The Name of the Game," and "Super Trouper," to name but a few.

Alisa Mendez is our young bride to be Sophie, full of infectious energy and youthful inquisitiveness. The prologue sets the scene for the comedy, as Sophie plaintively sings "I Have A Dream." Her vocals my not always be a perfect fit for the ABBA score, but she gives it her all. The real fun begins as everyone arrives on the island for the nuptials.

Xavi Soto Burgos stepped into the role of the young groom, Sky, at last night's performance. Burgos embodied young love and did a fine job as the optimistic lover.

The casting of the six elders is shear perfection. Christine Sherrill brings a powerhouse voice to the role of Donna, and anchors the action with conviction and grace. She can sell a song with her belt or lyrical singing. Having played the role before, Sherrill brings an ease to the role that avoids schmaltz. By her second Act showstopper, "The Winner Takes It All," we are firmly convinced of her plight for happiness and a life of lost love.

Gal-pal Rosie is played by the hysterical Carly Sakolove. This full figured gal lands every joke, and dances every bit of nonsensical choreography like an old pro. The audience ate up her performance.

Jalynn Steele is the third member of the trio as Tanya, and can this woman strut. The three time divorcee is statuesque and commands attention. Her "Does Your Mother Know" nearly stopped the show, as she became a cougar who dominated a young admirer.

The three dads were equally as wonderful. Victor Wallace shines as Sam, a man whose life didn't turn out as expected and hopes to rekindle a romance with Donna. Wallace, who has graduated from playing the role of Sky many years ago, has found every nuance in this role. I think we all secretly hope he is the real dad, thanks to his touching performance. But his singing voice is truly perfection, managing all the upper registers with ease. His rendition of "Knowing Me and Knowing You"  fits beautifully in the script and he sang it with sentimental conviction.

Rob Marnell is the English potential dad  Harry, who is the odd man out, seemingly not as comfortable with the lazy Greek life. His funny affectations and fine singing were a nice change of pace, whether strumming a guitar, or reminiscing with Donna in "Our Last Summer."

Jim Newman plays his role of Bill for pure comedy. This  dad possibility shakes his booty and is a great comedian. By the time he falls for Rosie, comedy ensues as the two sing "Take A Chance On Me."

The simple set is full of swaths of ocean blue and white buildings that turn and glide. Designer Mark Thompson has designed flowy summer garb fitting for a Greek Isle, but it is the high camp,  over the top 1970's inspired ABBA outfits that are truly perfectly silly.

The ensemble is made up of a gaggle of young people, all game for any party. The men are allowed to don wet suits, flippers and goggles for one of the numbers that serves no other purpose than to be silly. And Sophie has a nightmare that is acted out with hilarity as the ensemble sings "Under Attack." ABBA's music screams for dancing, so when the cast dances choreography by Anthony Van Laast with careless abandon, the music has done it's job.

There is little that can be called subtle in this production, as an overly loud orchestra can sometimes overwhelm, leaving the audience to ponder what is happening live and what sometimes sounds like canned music.  Director Phyllida Lloyd propels the action at a quick pace and broad brushstrokes. But the overall product leaves you satisfied in a way that binging on  your favorite junk food brings a smile to your face and an overly full stomach, even though you don't want to admit it.

MAMMA MIA! plays at Shea's Buffalo theatre through April 14,2024. Contact Sheas.org for more information.

 

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