Mamma Mia! is back in Chicago as part of a North American tour celebrating its 25th anniversary debut in London’s West End (where it is still running). For the folks who dreamed up this jukebox musical to showcase the pop hits of Swedish super group ABBA, Mamma Mia! continues to rake in “Money, Money, Money.”
By now, the musical is essentially critic-proof. Sure, you could try to dismiss Catherine Johnson’s often cardboard characters and silly 1999 script, which glaringly bends itself backwards and into knots to shoehorn in so many original ABBA songs into one sitting.
Or, you would have to ignore the rise of DNA testing, which would easily give a definitive answer to the main plot. Mamma Mia! centers around bride-to-be Sophie (an earnest Alisa Melendez), who hopes to identify her biological father by inviting three of her mother’s ex-lovers to her Greek island wedding.
But trying to apply logic to Mamma Mia! would be sort of akin to saying there’s no need for cheesy escapism. And considering how much joy ABBA has given globally, why not let their ingenious and melodic pop wash over you in an ongoing nostalgic bath of a late 1990s hit musical originally created to soak in the band’s ’70s and early ’80s song hits?
What can be critiqued for this tour are the performances. That’s because Mark Thompson’s colorful costumes and non-automated set design with Howard Harrison’s lighting mostly harken back to the London original by director Phyllida Lloyd and choreographer Anthony Van Laast.
As the ambivalent mother of the bride, Chicago actress Christine Sherrill does a deep dive into the single-mother psyche of Greek taverna owner Donna Sheridan. Along with a great singing voice, Sherrill works hard to make the wistful rejected-lover lyrics of “The Winner Takes It All” to be about her character’s painful past.
As can be expected, the “Who’s your daddy?” plot is largely played for laughs . But Jim Newman and Rob Marnell respectively bring some serious reflection to their characters of travel writer Bill Austin and former British head banger Harry Bright as they take in the serious implications about their potential fatherhood.
As Donna’s main former love interest of Sam Carmichael, Victor Wallace does the necessary job. But Wallace’s agony about Sam’s past actions felt more rote rather than truly from his character’s heart.
Jalynn Steele as the upscale Tanya and Carly Sakolove as the cheery Rosie—two of Donna’s close friends and former band mates—buoy the show with their comic support. Steele and Sakolove almost make Johnson’s canned jokes about women aging feel almost natural, and they respectively shine in their spotlight numbers “Does Your Mother Know?” and “Take a Chance on Me.”
If there is some unevenness within the acting ensemble, the singing and dancing aspects are all spot on. The Act I finale of “Voulez-Vous” was a swirl of action, while the curtain call mega-mix grants the on-their-feet audience the chance to sing along like they’ve probably wanted to do all evening.
In another universe, an ABBA jukebox musical could have gone the riskier biographical route like Jersey Boys (now playing locally at Mercury Theater Chicago). But a skilled dramatist would have had an uphill battle circa 1999 to find much uplift by a band stressed by the pressures of fame, touring and two marital breakups.
So, despite its often eye-rolling silliness, Mamma Mia! meets ABBA and musical comedy fans where they want to be. And this 25th anniversary tour is just another example of how Mamma Mia! will likely endure and endear well into the future.
Mamma Mia! runs through May 19 at Cadillac Palace Theatre, 151 W. Randolph St. Tickets run from $79-$244, and a $25 lottery is also available. For more information, see BroadwayInChicago.com.