Review: MAMMA MIA! at Theatre Memphis

Make this make sense: take a handful of successful Swedish pop songs from the 1970s, hand them to a British creative team to build a stage musical set on a Greek island, give it a commonly used Italian exclamation (“Mamma Mia!”), and watch it become an American phenomenon.

It shouldn’t make sense—but since 1999, MAMMA MIA! has played continuously in London’s West End for 27 years, been produced in more than 60 countries, spawned a blockbuster film starring Meryl Streep, and dominated stages from New York to Honolulu, generating roughly $4.5 billion. And did I mention the story is terrible?

Such is the case with almost every jukebox musical: who needs a great story when you have great songs? With the rare exception of Jagged Little Pill, recently seen at Playhouse on the Square, these shows reliably prioritize familiar pop hits over narrative depth—and, as MAMMA MIA! proves, theatregoers don’t seem to mind.

Featuring 23 ABBA numbers (only a handful instantly recognizable to the general public), MAMMA MIA! assembles a plot with almost no real dramatic weight or comedic bite, but sprinkles in enough nostalgic tunes—at least for fans of ’70s pop—to keep us intermittently entertained. Despite the thin material, this Theatre Memphis staging still delivers the upbeat moments people come hoping to experience.

The entire (flimsy) tale is laid out within the opening song: on the eve of her Greek island wedding, Sophie secretly reads her mother’s diary and discovers that Donna had three romantic encounters that could have led to her conception 20 years earlier. Unsure which man is her father, she invites all three to the wedding. That’s it. That’s the whole premise. The show offers fragments of history for the men and their past relationships with Donna, but none of it is explored with any real substance. Much of the evening is spent inventing just enough dialogue to justify inserting selections like “Voulez-Vous” or “One of Us.” For anyone less than a devoted ABBA enthusiast, enduring pieces like “Under Attack” becomes the toll required to reach “Dancing Queen” or “Take a Chance on Me.”

Under Cecelia Wingate’s assured direction, the staging (aside from a few distracting wigs) is executed with polish. The set, lighting, and sound design are all visually and aurally appealing. Jordan Nichols and Travis Bradley supply lively, inventive choreography that the ensemble performs with energy—especially the men dancing in flippers. Theatre Memphis continues to assemble performers who can sing, act, and dance with confidence and charisma.

The three men who might be Sophie’s father are virtually indistinguishable. Kent Fleshman (Sam Carmichael), Brent Davis (Harry Bright), and Jimbo Lattimore (Bill Austin) are all capable performers, but Catherine Johnson’s book gives them nothing distinctive to play. One may have been in a punk band, another an architect, and the third some sort of crocodile wrangler—possibly. It’s fitting that Sophie doesn't know who any of these men are, because even after the curtain falls, neither do we.

Braxton Gilliland, as the groom-to-be Sky, has slightly more dimension to work with, though the role still leans toward “laid-back beach guy.” Gilliland manages to give him warmth and sincerity, especially in scenes supporting his fiancée. He is a stand out.

Donna’s longtime friends are played by Rebecca Brown Schulter (Tanya) and Jenny Odle Madden (Rosie). Their roles have more texture and are paired with two of the evening’s strongest musical moments—“Super Trouper” and “Dancing Queen.” Schulter leans into Tanya’s stylish sophistication, while Madden’s Rosie provides a delightfully awkward counterbalance. Even with their comedic instincts and vocal strength, they remain archetypal “best friend” figures straight out of a 1970s sitcom.

Mary Helen McCord, as Sophie, delivers the most impressive vocals of the night. She plays the role with earnestness, trying to uncover the truth before her wedding day arrives. Her natural stage presence and heartfelt rendition of “I Have a Dream” mark her as a performer to watch.

Finally, Donna—inexplicably running a hotel on a Greek island—is portrayed with confidence and nuance by Emily F. Chateau, one of Memphis’ strongest actresses. Chateau brings her trademark authenticity to the role and works hard to create emotional stakes where the script offers very little. In many ways, her skill exceeds the demands of the material. But if Meryl Streep found enough in the character to take on the role in the film, there must be something there (i.e., thank you for the music).

Aside from a few minor quibbles—such as easing the audience into the overture and entr’acte with half-house lights instead of total darkness, or boosting the sound of the megamix finale to heighten the party atmosphere—this Theatre Memphis production of MAMMA MIA! is about as strong as this show can be. While many ABBA selections are unfamiliar or awkwardly wedged into the unfolding “drama,” the structure provides just enough dopamine hits to keep the crowd satisfied. Not everything onstage needs to be profound, challenging, or sharply funny. Some productions exist purely for joy. This is one of them. And judging by the energy in the room, both the cast and the crowd are having a great time. All these years later, the British creators are almost certainly having fun too as they dance their way to the bank singing “Money, Money, Money!”