REVIEW: MAMMA MIA
- Jacqui Dwyer
- 6 hours ago
- 3 min read
The history book on the shelf is always repeating itself - until now. AG Theatre’s genuinely fresh production of Mamma Mia is brimming with new talent, new offers and actually made me feel something, which has not always been the case for this jukebox rom-com. The key to this production is that it doesn’t take itself too seriously, while at the same time respecting the material it’s been given and understanding why it is such a box office smash.
Pip Mushin’s direction assisted by Adriana Pannuzzo is authentic and free, and grounds everything in the perfect blend of heightened realism. Gags abound in unexpected places, whilst never feeling forced or gimmicky. I felt like I was watching real people with relatable struggles who earned the right to burst into song.
The central pin of this story, Belle Parkinson’s Sophie, is the most grounded energy on that stage, making her so easy to follow. Belle has given Sophie a fire and coolness that beats any two dimensional ingenue. Her voice is warm and agile, and suspends across the audience beautifully. Sophie’s besties Lisa and Ali, played by Ally Long and Elena Atanasovski, are joyful and energetic. This trio showcases incredibly sharp dancing chops that made ‘Honey Honey’ pop.
Bek Chapman is a pure powerhouse as Donna. I loved her frantic, romantic and stubborn energy, and she seemed to connect personally with every member of that ensemble at some point - especially fun to watch during ‘Mamma Mia’. Equally engaging, ‘The Winner Takes It All’ was a guttural knock-out, and truly could have stood on its own without the added dancers onstage.
Rosie’s southern belle charm was genius from Antoinette Davis, who delivered banger after banger that had the audience in stitches, particularly in her far-from-demure ‘Take A Chance On Me’. Sasha Hennequin’s Tanya is dripping with both poise and play, and her quippy dynamic with Rosie is so much fun to watch. ‘Super Trooper’, which I’ve traditionally found stagnant, was a particular Dynamos highlight and I adored the passing of the girlhood torch as Sophie and her friends eventually joined in with the number.
Sam Anderson as Sam was the passionate leading tenor we wished of Brosnan, with great tenderness and powerful range. Luke Stephens as Bill was a scream, giving Irwin-esque enthusiasm at all times with moments of endearing vacancy. Shannon Foley’s Harry was so loveable, and their skilful storytelling made me connect with the lovers-to-friends arc of ‘Our Last Summer’ for the first time, with tangible feels. (Tears, to be frank).
Keeping us from feeling our feels too hard are Abe Geyer’s Pepper and Deklan Haas’ Eddie, our impeccable jesters whose bold slapstick and impressive acrobatics appropriately stole many a moment. Sophie’s coolness could only be matched by Jesse Vasiliadis as Sky, and their chemistry sparked audible reactions from the audience during ‘Lay All Your Love On Me’.
The choreography by Adriana Pannuzzo was exceptionally sharp and dynamic, and this tight ensemble worked non-stop to keep the rhythms of this Greek island felt from head to toe. The ensemble throughout was nuanced and individual while also blending together as an incredible chorus both physically and vocally.
The band, lead by musical director Kent Ross, was not as punchy as I’d hoped in Act 1 with some timid entrances, but with audio levels increased for Act 2 the Entr’acte flung us right back into ABBA’s world, with all of the deliciously punchy 80s synth. (Although I’ll never get over not having live saxophone for Waterloo - but I’ll bet that is down to the current orchestration. Damn the diminishing of our pits!) While I’m at Act 2, ‘Under Attack’ was perfectly weird and uncomfortable making for a scarily relatable nightmare sequence.
I have to make special mention of costume designer Karen Spencer, who I’ve been told hand made every sparkly jumpsuit and more on that stage with her team, and overall did an exceptional job filling the space with generously vibrant colour palettes and fabulous textures.
This production captures the humanity and genuine humour that every production of Mamma Mia should be delivering, if handled with care and not written off as just an easy moneymaker. It can be that, but it can also be so much more.
AG Theatre’s Mamma Mia is at the National Theatre in St Kilda until 8th March, and I highly recommend a visit to the island. Click here to buy tickets!
