Christine Howey

For those who love Michael, his moves and his music, this show is a feast of more than 40 songs played fully or in part. And the special effect that ends the show is an oldie but goodie that launches the audience to its feet.

In this stage iteration directed by John Rando, Caden Brauch plays Marty as if he's a minor character who surprisingly found himself with a lot of lines to read. His stage presence is minimal, and his singing and acting are no more than okay. But what's missing is the goofy charm that makes his character relatable. When he finds himself in the bedroom of high schooler Lorraine (Zan Berube), the exquisite strangeness of a teen being hit on by his own mom, now young as himself, is not played to maximum effect.

In this touring version directed by Michael Mayer, the lead role is taken by Katerina McCrimmon, a young woman with powerfully prestigious pipes that do justice to songs such as 'People' and 'Don't Rain on My Parade.' While she doesn't look or sound like the original, she's talented enough to allow one to focus on the show itself.

But let's make one thing perfectly clear. Don't think if you've seen the movie Mamma Mia! you've seen enough. This lively, sleek production directed by Phyllida Lloyd and choreographed by Anthony Van Last is a smooth, fast-paced and engineered to get you dancing in your seat.

If it seems cruel to compare anyone to Robin Williams, note that this production invites it by mimicking the movie throughout. Right from the start, McClure as Daniel Hilliard tries to show off his talent as a voiceover actor by doing a series of rapid-fire impressions of well-known characters, the kind of thing that Williams did with devastating accuracy. But McClure's impressions are a bit like your uncle Jerry's imitation of Ed Sullivan, not really close and a bit cringey.

At first glance, the play with music Girl from the North Country, now at Playhouse Square, would seem to be the theatrical version of Dagwood's gastric monstrosity. It has too much of everything—too many characters with too many problems set in a too-dreary place, infused with Bob Dylan music that includes too-few of his iconic tunes. And yet, this towering and teetering collection of deliciously downbeat vignettes and mystically evocative songs manages to worm its way into your mind and heart, leaving you licking your fingers and burping contentedly when the 150-minute show is concluded.

The undeniable strength of this production are the voices, led by TikTok sensation Nichelle Lewis in the linchpin role of Dorothy. The slight and even fragile-looking Lewis has a voice that is muscular, resonant and downright startling as it hops from octave to octave with ease. Although she can work on developing her physical stage presence along with capturing the emotional nuances of her character's longing for home, her voice is all that and a bag of chips.