Courtesy of The Muny
Mamma Mia is one those shows that even your friends who claim to “hate musicals” would sit through stifling St. Louis humidity to experience. For starters, it’s an ABBA musical. So even if you’re not a die-hard fan of the Swedish pop-synth group, as soon as “Dancing Queen” comes on, I can guarantee flashbacks to prom dances or road trip sing-a-longs. It’s feel-good, it’s fun, and it’s Mamma Mia’s first time at The Muny.
Sophie Sheridan (Brittany Zeinstra) is getting married at ripe 20 years old, despite the fact that her mother, Donna (Julia Murney), has gone her whole life as a self-starter with no desire for a husband. Which would be fine, except Sophie really wants her father to give her away at her wedding. So when she finds her mom’s diary that points to three potential fathers (Justin Guarini, Ben Nordstrom, Mike McGowan), she secretly invites them all to Mediterranean paradise for a little celebration, a little drama, and a whole lot of ABBA.
In her Muny debut, Brittany Zeinstra is incredible to watch as she imbues her role of bride-to-be with zealous charm. Her acting is spot-on, and she manages to have genuine chemistry with every one of her on-stage counterparts—from her fiancé, to her mother, to the members of her bachelorette party. Her voice is equally as dynamic: she gets the upbeat rhythms of “Honey, Honey” just right, and delivers a gorgeous rendition of the ballad “Thank You For the Music.” We hope to see this young star in other Muny productions soon.
Julia Murney gives a very convincing performance as a mom in distress, but her vocal stylings are better suited for past roles like Wicked’s Elphaba. In this jukebox musical, her intense voice doesn’t quite match the energy necessary for the pop hits. However, where songs like “Mamma Mia” fall flat, “Winner Takes It All” really shows off the sheer breath and emotion she has in her lungs—you’re guaranteed goosebumps after that one.
Some of the most stunning lyrical deliveries seemed to get lost in the volume of the music, however. With so many fan favorites sure to keep the crowd singing along, it’s a bit of a disappointment when songs like “Super Trouper” get drowned out by synth and some sound malfunctions. But it’s not too much to distract from Justin Guarini (American Idol anyone?) as his sweet voice shocks the stage, particularly on the duet “SOS.” Guarini’s acting is a bit unlikeably likeable, if you could say that, but it adds to his dad-flair in this one.
Another strong male voice, Jason Gotay, is adorable as Zeinstra’s romantic opposite. The two shine during “Lay All Your Love on Me,” nailing Jessica Hartman’s surfboard choreography. And the ensemble backs this number up with some impressive dancing, all in flippers and wet suits.
The two to watch, truly, are Tanya (Jenny Powers) and Rosie (Ann Harada), Donna’s gal pals and old band mates. Powers and Harada really bring the girl power to this production, singing the uplifting “Chiquitita” to Murney as if it were a lullaby written for moms. And their performance of “Dancing Queen,” complete with feather boas galore, is reminiscent of every teenage girl’s first sleepover. The two are constantly making the audience roar with laughter throughout the show, but Harada hits it home in “Take A Chance on Me,” a duet (and borderline gymnastics routine) with Mike McGowan. Harada may be small, but the laughs are big during this number.
A simple set is backed by beautiful video design by Greg Emetaz, which showed a turquoise sea and signature white-topped Greek villas throughout the show, as well as a video montage during “Our Last Summer,” and mini pseudo-concerts during some of the more dance-y numbers. And be sure to stick around past curtain call. If you weren’t convinced The Muny could deliver a finale up until now, just wait until you see the outfits by Leon Dobkowski featuring glittering silver fringe and light up chests like disco-Christmas tree decorations as the entire cast crowds the stage for a finale that will turn your standing ovation into a dance party.
