Take
Mamma Mia!, the jukebox musical of tunes spun by the pop- rock group ABBA,
which is now at PlayhouseSquare. It’s so cheerful and bright, and packed with
infectious tunes, that you find yourself smiling and tapping your foot even
when you’re trying to ignore the temptation.
Better
to give in: ABBA is bigger than all of us, even though they haven’t recorded or
performed as a group for 30 years. But no matter, Mamma Mia! will run forever, giving middle-aged actors the chance
to dress in 1970's rock drag, and middle-aged audience members the opportunity to remember when
they could boogie with the best of them.
The
music and lyrics by Benny Andersson and Bjorn Ulvaeus is as bulletproof as
always, and the direction by Phyllida Lloyd has been frozen in amber since the show's
1999 debut.
In
this iteration, the older women are led by slim Kaye Tuckerman, who gives taverna
owner Donna a wired, slightly hyper presence. Although Tuckerman can’t hit the
low notes with much oomph, she nails “The Winner Takes It All” near the end of
the second act.
As
her back-up rock group now gone to seed, Alison Ewing is a nicely jaded and
breast-enhanced Tanya. Mary Callanan plays Rosie with a sweet affect that could
stand to be a little earthier and more edgy. But they both sing well and look
appropriately out of place in their glam-rocker outfits.
As
for the old dudes who used to date Donna, one of whom might be the father of
her daughter Sophie, it’s a mixed bag this time around. Paul Deboy handles the
“head banger” role of Harry Bright with good-natured ease, and John-Michael
Zuerlein has a couple interesting moments as the Aussie.
But
Christian Wheelan never quite connects as Sam Carmichael, the guy Donna clearly
has the most current vibes for, both positive and negative. And his singing
feels forced, as if he’s stretching every neck tendon to hit his notes, which
is a less than attractive way to approach most love songs, be they ballads or
soft rock.
Among
the young tikes (the 20-sometings), Chloe Tucker is fun and endearing as
Sophie, and the aptly named Happy Mahaney plays her fiance Sky with a nearly
permanent smile that warms rather than irritates.
The
book by Catherine Johnson blissfully ignores simple resolutions to the problems
set forth (paternity tests? hello?), but all the confusions are eventually
resolved in a welter of more songs.
And
that’s just what the audience wants, ending with a mini-concert that sends
everyone off humming and waiting for the next touring company of Mamma Mia! to
roll through town.
Mamma
Mia!
Through
July 22 at the Palace Theatre, PlayhouseSquare, 216-241-6000.
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