Move over Disney Land, The Center for the Performing Arts has
just become
“The Happiest Place On Earth”, with the opening of “Mamma Mia!”.
The ABBA lovefest that gets younger every time it detonates itself
for a nostalgic, almost giddy, audience. For the “Flower Children”
who were weaned on the ABBA music in the 70’s this is an elated
time revisited.
Move over Disney Land, The Center for the Performing Arts has just become “The Happiest Place On Earth”, with the opening of “Mamma Mia!”. The ABBA lovefest that gets younger every time it detonates itself for a nostalgic, almost giddy, audience. For the “Flower Children” who were weaned on the ABBA music in the 70’s this is an elated time revisited.
The Generation X population that was born after the ABBA infusion thinks they have discovered something fabulous and new and have become dedicated apostles of the ageless group. Most thought Disco was dead but ABBA never bit the dust or had to be resurrected. It has always been here just for the listening.
In 1970 the ABBA sound exploded its way into the twenty-first century with the New York Production in October 2001 and when the American Music Theatre of San Jose transported the joyful London musical “Mamma Mia!” to San Jose. The plot that is interwoven around twenty-two ABBA hits is an upbeat delight. The star of this show is, without a doubt, the music. The show was written to the music and songs not the usual other way round. The audience reaction – from those born in that era – was a rapturous, nostalgic giggle and applause, as each number was introduced into the plot.
The entire cast in this touring company is energetic perfection. The leads are – Canadian – pros of the first degree who belt out the music with a feeling of loving every minute they are immersed in the ebullience of the moment. There is nothing like watching a production where the cast is having as much fun as the audience. Its infectious.
This show is a simple example of the old adages that “less is more” and “its not what you do, it’s how you do it”. No monstrous special effects, glitzy costumes or scenery, just plain well trained talent in every aspect and sooo enjoyable. Choreography is spontaneous, unpredictable and delightfully British. Lighting is creative and subtle and transports a simple set to the situation at hand.
The plot that takes place on a small Greek island in the present, is sweet and simple and revolves around a wedding day. The bride – Sophie – wants her father to give her away. The problem is that there are three possible fathers so Sophie quietly invites all three under false pretenses.
Mama – Donna – an American single parent must reluctantly confront the three men she hasn’t seen in twenty years. The story is really only a vehicle to bring twenty-two ABBA hits like “Knowing Me, Knowing You”, “Money, Money, Money”, “Super Trouper”, “I Do, I Do, I Do”, “Dancing Queen”, “The Winner Takes All”, “Mamma Mia!” and a slew of others into the unlikely tale. The transitions and blending of story and song are well done, sometimes fittingly campy and the production moves at speedway pace.
In 1974 a young Swedish group in Brighton, England won the Eurovision Song Contest with a song called “Waterloo”, beating out Olivia Newton-John. That was the beginning of a successful eight year run for ABBA who has gone on to sell over 350 millions records worldwide. (The name ABBA comes from the first letter of the first names of the original group.) The chart-topping group has been offered a “billion” dollars to reunite after 25 years for a one hundred-concert national tour. They have politely declined.
Benny Anderson and Bjorn Ulvaeus bring the music and lyrics to “Mamma Mia” and audiences become mesmerized with the sound of their past. The show was originally brought from London to open in Toronto, Canada and has since been playing to sold out audiences in London, New York and at the Mandalay Bay in Las Vegas. Touring companies like this first rate touring production travel the country.
The San Jose opening night audience became so involved with the ten minute reprise at the closing that all were standing, singing, some dancing and waving arms, smiling and laughing while a blanket of warmth, happiness and well-being enveloped the theater. The euphoria of the moment was amazing and well-timed in a moment of our history when we don’t know if we should laugh or cry. This is just the ticket; go get one- you will be glad you did.
Camille Bounds is the Theatre and Arts Editor for Sunrise Publications
