“And if the storyline seems a little far-fetched and a bit chaotic – well, it does draw heavily on Greek theatre and mythology. There are trios, father issues, mother issues, unknown parentage, siren’s calls, heroes’ odysseys and the Greek chorus is, well … a Greek Chorus”
“if that ain’t enough to make you want to Hustle-dance your way home, then Covid has kidnapped your soul! “
Kate Stratford
4 /5 dancing Zorbas
More jumpsuits than Elvis! More disco dance moves than John Travolta! More colour than Effie Stefanides! And more references to Greek Theatre than Wikipedia. It’s Packemin’s production of Mamma Mia!
You should know the story by now (or where you been for the past two decades?) Years ago a young Donna (Louise Butler) had a particularly lovely summer in idyllic Greece and found herself pregnant at the end of it. Finding a home on a little Greek island, she runs a run-down hotel there and 21 years later is preparing for her daughter’s wedding with the help of two old girl-band friends – Rosie (Rachael Gillfeather) and Tanya (Debora Krizak). Meanwhile Sophie (Courtney Bell), the spirited bride, has a plan. She secretly invites three men from her mother’s past in hope of meeting her real father and having him escort her down the aisle on her big day.
Butler controls the incredibly demanding role of Donna (Act 2 sees four songs delivered with only a few lines of dialogue to reach for a breath between) with aplomb; reaching a stunning climax with “The Winner Takes It All”. Her surprising best chemistry was with Nat Jobe in the delivery of the duet “Our Last Summer”. The joy in performing together was the most authentic, heart-warming moment in the show, although Jobe’s Harry was somewhat stereotypical in its delivery of a gay character. Surprising, as Jobe is an accomplished performer more than capable of subtler nuancing. It may have been a directors’ (Jordan Vassallo & Courtney Cassar’s) choice.
The other two possible fathers are Bill (Mark Simpson) and Sam (Scott Irwin). Simpson moved with ease and surety throughout and Irwin, unlike Pierce Brosnan, can sing. And rather well too. His moments with Butler’s Donna lacked a little shimmer – perhaps because they felt rushed. Such moments were not allowed to breathe, to be bracketed with a moment of silence to develop the overtones of loss and regret which underscore that particular relationship. Yes, Mamma Mia! is a musical comedy but as the Ancient Greeks would tell you, comedy depends on moments of drama to sharpen it.
But this is a show where women’s stories and characters dominate. As part of the trio of Charites (or Graces), Krizak’s Tanya is a stunning Aphrodite/Aite MILF who looks (and plays) as a woman who could eat young men for breakfast and pick her teeth with their bones. She almost long-leggedly steals the show with “Does Your Mother Know” but has the professionalism not to do so. Likewise, the third Grace (Gillfeather’s Rosie) is a celebration of a primordial Gaia, joyfully embracing all those delicious earthly pleasures. Bell’s charming Sophie is excellent, believable casting as Butler’s daughter, bringing a sweet vulnerability to the role.
And if the storyline seems a little far-fetched and a bit chaotic – well, it does draw heavily on Greek theatre and mythology. There are trios, father issues, mother issues, unknown parentage, siren’s calls, heroes’ odysseys and the Greek chorus is, well … a Greek Chorus. In the best Aristophanic tradition, they dance, they sing (on and off stage) and also, as needs must, function as the stage crew under the flawless stage management of Andrew Mallam.
The production could, however, benefit from a little variation in pace. A sigh of silence now and again in the tenser moments could only serve, not hinder, the experience of the show and leave an audience with more emotional engagement. There are heart-strings to be plucked here, if the directors would like to get out their lyre.
To bring a show of this magnitude to the stage in these uncertain Covid times requires real grit and determination. At any time, one of your cast or crew could have to isolate without notice. It makes rehearsals and production a nightmare (somewhat similar to Sophie’s terror of being swamped by multiple wedding dresses; a nightmarish vision for me too!). Packemin has wisely reprised some roles from their 2019 production so they began from a position of familiarity and experience.
And of course, the most remarkable presence in Mamma Mia! is that of the music of ABBA. Catherine Johnson’s book wrangles Andersson and Ulvaeus’ music to shape the story and pay ironic lip-service to the origin of modern-day theatre. And every memorable hit is there, even “Waterloo” in the finale. And if that ain’t enough to make you want to Hustle-dance your way home, then Covid has kidnapped your soul!
Kate Stratford, Theatre Now
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