What an extraordinary night. The Pantheon is definitely undergoing a major expansion! Sally Ann Triplett is, quite simply, a goddess. As for the much anticipated return of Kim Ismay, despite my wife having regaled me with tales of Kim’s legendary exploits, I decided to reserve judgement with a healthy dose of scepticism until seeing and hearing her in the flesh; after all, my wife also once claimed, somewhat hyperbolically that Mamma Mia actually cured her depression! After seeing how much Kim Ismay Tanya adds to the show, if not reinvents it altogether, I’m actually planning to make a special trip to focus on her exclusively, as her masterful portrayal of Tanya is literally a show within a show, and what a show it is. Every time I tore my eyes away from Kim, even for a nano second, I did so with anticipated, then confirmed, regret, as I invariably missed one of her unique colorations of an almost unsettlingly realistic character. Indeed, her portrayal seemed so “real,” I had convinced myself that Kim was actually not an actress at all, but the world’s greatest impressionist imitating the “actual” Tanya (if there were such a person).
Barring some kind of “Tanya Exorcism,” I fully expect Kim to continue “oozing” the spirit of her expertly crafted character for many shows to come. As for Tonya and Rosie’s chiquitita duet, it was, by a country mile, the most pitch-perfect I’ve heard, and dashed off with such aplomb, I actually believed it cheered Donna up with its delicate balance of humour and tenderness, capturing the poignant consequences of Donna’s life altering youthful indiscretion with her simultaneous over-reaction about the final outcome; after all, things could have been much worse (rainy housing estates, for one).
The conviction of Chiquetita and Sally Ann’s acting prowess, made Donna’s “cheering up” seemed truly spontaneous, which is no small feat given the abruptness of the transition from Chiquitita to Dancing Queen. In the past, I have criticised those who belittled Mamma Mia as mere “string” upon which the pearls of timeless ABBA tunes are “strung.” If there ever was any truth in such criticisms, there can’t be now. The almost other-worldly ways in which Sally Ann transported me with her pulsating vocal and dramatic Mesmerism made me feel 50 pounds lighter. To call Mamma Mia mere “entertainment” would be like calling the Mona Lisa, a doodle. Sally Ann, Kim, Joanna, Sky, Sophie and Sam so expertly splash their coordinated colours and textures on their shared canvas, it’s as if 6 Jackson Pollok’s were thrown together to create a Rembrandt.
The new Sophie’s (Dani De Waal) performance was exquisite. Her vocals were pitch-perfect with a beautifully refined tone and expressive phrasing without being self-indulgent. This Sophie could have easily gotten smothered among the larger than life Dynamos of this cast, but more than holds her own without over-stating her character. I found her very likeable and believable without “demanding” to be liked. There was a quiet confidence (not arrogance) which, in my sometimes not so humble opinion, struck the perfect balance of competence and vulnerability.
William Tapley as Sam weren’t no chopped liver either. His vocal facility brought a renewed richness to his role and the production as a whole. The role of Sky played by Craig Fletcher was refreshingly well acted, well sung and appropriately understated. I found this Sky and Sophie combination to be completely believable, so much so, that a part of me cannot help but wonder if there isn’t more to their relationship, particularly given how new this cast is? Far be it from me to start tongues wagging, but they are so good together, I cannot help but wonder if art may be imitating life to a degree in this case?
As I told Benny and Bjorn after the 10th anniversary party (half joking) that Mamma Mia cured my wife’s depression, which garnered a few chuckles tinged with skepticism. Despite their laughter, I believe that great music and drama have power to heal. That being said, any shrink will tell you that absence of depression does not equal happiness. Well boys, whether you think I’m kidding or not, this particular cast went well past a cure of depression and crossed over into the realm of actually making my wife happy; not just for a day or two, but for the foreseeable future. How long will this inoculation last? Only time will tell, but a booster shot is only a ticket away! And yes, I am deducting this latest performance from my taxes as a legitimate medical expense.
Sincerely,
- Timothy Winey
19 Jun 11
Be still my heart! Has the Pantheon actually released the Goddess Sally Ann Triplett to once again, grace this Earthly plane? If only a rumor, I can think of no crueler hoax, and if true, no greater sign of infinite mercy. For those doomsday profits, obsessing on the inevitable cataclysms of 2012 I pose to you this:
1. If there indeed is no residual mercy left in this dying, entropic universe, and we are doomed to a fate of cruel and meaningless cosmic obliteration, then why Sally Ann’s return?
Surely a random, heartless, universe, would not be capable of ensuring such complete bliss while simultaneously plotting our equally complete demise? I can imagine no greater single threat to the budgets of suicide hotlines than Mamma Mia with Sally Ann at the helm. Indeed, if such charities really did care about the depressed, lonely and dejected, they would replace their counselors with automated voicemail announcements of Sally Ann’s return forthwith, if indeed true, for any false report of such magnitude would most assuredly result in untold misery. I believe things happen for a reason, and I for one, will be diverting at least part of my doomsday emergency fund to grab enough happiness from her majestic return, ensuring that at the very least, should the Chicken Little’s be proven right, I will die happy. Take that Nostradamus!
- Timothy Winey
15 May 11
Before seeing Mamma mia the first time, I thought that on stage it could not be as half as good as the movie. However I noted, that it can be even better on stage. After that, I bought the CD with the original cast and I have to say that I understand some people when saying that the previous cast was not that good. Meanwhile there have been some changes in the cast and today's performance (my second visit) was again overwhelming. The main attraction of the cast for me is Jessie May as Sophie. Besides the fact that she looks gorgeous, she has the voice of an angel. When she sings, it really touches me deep inside. She'll have a great future. Linzi Hateley as Donna is good, but the first time I've seen it, the part of Donna was sung by Sara Poyzer and she gives much more life to the character, also with her voice. She is more the rock mother. Excellent performances of Catherine Russell as Rosie and especially Harriet Thorpe as Tanya. She is great. An absolute MUST for everyone! - Alexander
10 Dec 10
It's interesting the effect casting can have on a long running show. The night before I felt that Wicked was at its best ever but there's something not quite right about Mamma Mia at the moment. Rosie and Tanya have been cast the wrong way round and are simply not funny enough. Even the normally wonderful Linzi Hateley seemed to be struggling as Donna as the rockier edge to her voice has become quite nasal. Let's hope that's temporary as Linzi is still my preferred choice as Diane if the incredible Next to Normal ever reaches London. After a while all the worries about Mamma Mia dissolve as the sheer exuberance of the songs take over and you are reminded that it's almost impossible not to enjoy this show. - David Baxter
04 Sep 10
A night full of surprises. I attended the November 26th performance of Mamma Mia with some trepidation. After all, I made no secret of my suspicion that the decision to cast Niamh Perry as Sophie was partially influenced by myopic commercial "TV Land" considerations, considerations I still don't feel were in her long-term interest nor in the interest of the West End. This is why the reader should assign double weight to what I am about to write.
I doubt anyone with his or her eyes closed listening to Niamh could honestly guess her age?
The richness of Niamh's tonal palette combined with the maturity of her phrasing, creates a cognitive dissonance between what your ears register musically, and your eyes register chronologically. It's as if her voice is an amalgamation of reincarnated divas with a freshness not yet coarsened by the ravages of time. They say that youth is wasted on the young, yet somehow Niamh has managed to cheat the vocal Gods. Her performance left me both mesmerized and saddened. Mesmerized by vocals interpretively well beyond her years and saddened that a more lucrative recording career has not yet materialized for her?
Sally Ann Triplett as Donna was simply stunning. The breadth and depth of her vocal, dramatic and comedic ranges were blended to absolute perfection. The uniquely original mixture of her giddiness, confusion and anger upon seeing Sam for the first time in 20 years, made her rendition of Mamma Mia truly unforgettable. I thought I had already gleaned some hint of Sally Ann's vocal facility from a recent outdoor performance in Hyde Park, but I was wrong. Outdoor acoustics left me woefully unprepared for the true depth of her virtuosity.
The seamlessness with which she married her stunning technique to her equally insightful emotional interpretations of Slipping Through My Fingers, One of us and The Winner Takes it All, rendered them, and her, positively electrifying.
Leanne Rogers played a convincing Rosie with vocals that are simultaneously disciplined and expressive. With the Role of Rosie, less is often more, And Leanne selflessly understates her character for the good of the show when necessary. In some ways, the characters of Donna and Tanya are, and should be, bigger than life; this makes Leanne's restraint, all the more commendable.
One would think I would eventually run out of praise for Jane Gurnett; think again. Jane has found a new synergy with Sally Ann, convincing me they are genuine old friends. During Chiquitita, my entire torso began a kind of involuntary spastic movement that I initially interpreted as a combination of indigestion and hiccups only to realize that my entire upper body had been set to "chuckle," not unlike a "Tickle-Me-Elmo" doll. For about 15 seconds I was actually concerned that I would not be able to stop. The only other time I experienced anything like that was when I worked nights at a peach packing plant and became so sleep deprived that I started laughing at a joke and continued uncontrollably for approximately 20 minutes. It was a temporary but very real psychotic episode brought on by sleep deprivation.
So thank you Jane, your physical comedy and expert timing caused me to lose control of my laugh reflex. You really should come with a medical warning. Sam Carmichael as played by Norman Bowman was excellent. He possesses an exceptional voice and uses it to genuine dramatic effect. Without a believable Sam, Donna's job becomes much more difficult which, thankfully, is not the case with Norman Bowman.
The other dads were more than just believable, they were authentic. Well done Paul Ryan as Harry Bright, and Bill Austin's stand in, Anthony Topham. A brief note on demographics. One of the nicer things about Mamma Mia historically, has been the general level of civility in the audience, typically a bit older, better heeled, dressed and spoken than your average beer-swilling Wicked audience member. I have now detected a definite slide toward the "Wicked end" of the gene pool, and actually don't blame "TV Land" nearly as much as "Movie Land." So for all of you hen party gals who got lost on the way to the ABBA Sing Along, do all of us a huge favor, stay home and watch Mamma Mia the Movie projected onto the giant plasma TV mounted on your cave wall.
Think about it:
1. it's much cheaper than a theatre ticket,
2. it saves you the agony of trying to find fake fur-lined Eskimo boots to match your fake fur-lined, standard-issue Vicky Pollard neoprene coat,
3. you can really get blasted without having to pay 4 pounds for a cheap champagne served in even cheaper plastic glasses,
4. You can reduce carbon emissions by drinking directly out of the bottle not to mention the general improvement to the aesthetics your absence will bring to the city,
5. You can sing along as loudly as you wish with Meryl Streep, which ironically, will probably make you both in tune with each other,
6. If you start your party early enough, you may have time to catch X Factor where you can spend, voting for your favorite act, what you would have spent on a theatre ticket even though it will no doubt be your second choice in light of Jedward's recent exit,
And finally, if you still feel compelled to grace the big city with all your refined charms and urbane elegance, you can always go to the brand new and much anticipated production of "Dumb and Dumber, the Musical," starring, you guessed it, Jedward where you will actually be encouraged to sing along, out of tune, and hence, in tune, with those equally charming twins.
Speaking of X Factor, if TV Land casting it is indeed a new economic, and inescapably necessary evil to ensure West End survival, then I'd like to nominate another Lucy for the next Sophie, Lucy Jones!
Since so many cave dwellers seem to have gotten lost on the way to the Mamma Mia sing along, the absolute minimum courtesy the pathetically impotent theatres could do would be to make an announcement asking the fake fur-lined audience members to please refrain from singing until the very end. Last night I actually had a nightmare where I was surrounded by a chorus of fur-lined celebrity riff-raff led by Katie Price and Jedward singing spectacularly off-key in my ear. It was called "I'm a critic, get me out of here!"
Timothy Winey
P.S., at the risk of angering the Gods, the Pantheon has now been expanded. Make room for Sally Ann!
- Timothy Winey
27 Nov 09
All is forgiven! I recently wrote some fairly harsh words about Mamma Mia the Movie, most of which I still stand by. That being said, I no longer hold Benny and Bjorn personally responsible for that cinematic farce. I now suspect that the ego of Meryl Streep along with bad directing fatally conspired against “the boys.” Even if “B&B” had final editorial power, how would they fix something broken from its inception? Let’s face it, once the producers and directors deviated from the stage version, the movie’s artistic failure was all but assured. I base my absolution in part, to the heartfelt appreciation Benny and Bjorn showed 65,000 of their serenading fans in a special September 13 concert in Hyde Park. Benny also impressed me with his daring symphonic piece, and ongoing collaboration with folk music groups, showing me that for him, it is still “about the music.” In his own words, Bjorn is not a “sentimental man;” that being said, one could not help feel his appreciation for the unconditional love so many people spontaneously expressed to him. This must be the kind of adulation that politicians can only dream of. All I can say to them is forget Olympic bids, and learn to sing!
While it is true that the audio did no favors to certain artists at the beginning of the show, there were other artists who did not do the audio any favors either, but those were thankfully relatively few and far between. The new cast of Mamma Mia looks to be back on top (no small feat with Linzi Hately on sabbatical). In my own partial defense, while I never publicly created more than one seat in the “Pantheon” per role, I concede that I deliberately implied it. This was until I saw, and more importantly, heard, Sally Ann Triplett. She is, in my view, a very strong performer and just may have already reached the bar Linzi raised. I will need to see the show in its entirety to make a more detailed assessment, but Sally Ann definitely has my attention. I took a peak at her modest but tasteful website with an area for fan pictures that she promises to fill in as soon as she “gets one?” Sally, I think you need to get out more often! I’ll send you my picture if you can’t find anyone else!
Jane Gurnette was in rare form and looked great, working the stage as only she can. I don’t know anything about the new Rosie, but enjoyed her performance also. I think it helps the believability of the three dynamos if they are of similar age, and I did sincerely believe that these three could be friends in real life.
I think Jodie stood out as the star of the show. She worked that stage like a veteran. I strongly urge Mr. Macintosh to say a little prayer every night thanking his lucky stars he did not get his way during “I’d do Anything;” living proof that even the top dogs don’t always know what’s best for them.
I was particularly impressed with the stunning yet subtle voice of Kylie Minogue. I see Kylie as a Stradivarius violin, seemingly more suited to smaller venues whereas Jodie (a Guarnerius) is more easily appreciated outdoors. Using my audio technology, I took the liberty of filtering some samples of Kylie’s performance for a closer listen.
Her pitch was uncanny, and the range of her tonal palette was extraordinary! She’s clearly much more than the pop persona her handlers have manufactured for her. I also sensed her genuine gratitude for the opportunity Benny gave her. So Kyle, if it was a mere publicity stunt, please don’t tell me! I like to believe that at least some singers, on some level, express sincerity in their music, sincerity that springs spontaneously from internal sources.
Sincerely,
- Timothy Winey
03 Oct 09
I could not help thinking of the BBC’s Dragon’s Den when watching the 10th anniversary show, thinking to myself that the Dragon’s would never have backed such an implausible production 10 years ago. It was a surreal evening to say the least. Swedes with soft, cuddly Viking helmets, caterwaulers who looked and sounded like they got lost on the way to the movie sing-along (a little old lady next to my wife sang every word, including Slipping Through My Fingers, so out of tune, it was almost in tune, the ABBA (not Mamma Mia, but ABBA fan) behind me singing equally out of tune but nearly a third lower, creating a kind of macabre harmony that I can only imagine in Hell’s choir, the idiot wrapped in a moron Italian couple who felt the need, indeed obligation, to explain every plot line to their 4 year old during the quietest and most tender moments! Dare I go on? You get the picture. It was, in a word, a circus. I did feel genuinely sorry for the cast, as they were hopelessly upstaged by the “show within the show.” How would you like to be in a cast where half the dress circle refuses to sit down after intermission and has their backs to you waiting for the big cheeses to come down? But it was all worth it to catch a glimpse of B&B making history, and a few billion in the process.
I had a quick chat with “the boys” afterwards about a recording project I’m working on, gave them some samples, and told them in no uncertain terms, that Mamma Mia had cured my wife’s depression which garnered a few chuckles! Linzi was stunning, as usual, and graciously signed autographs afterwards. I don’t feel it would be fair to review the circus, I mean show, it was simply too manic an atmosphere to give a fair assessment; at times it almost seemed a parity of itself given all the distractions of inappropriate sing-alongs, star gazing, and general mayhem. Despite the distractions all around, Linzi and Jane were cool as cucumbers. I was sad to not see more of a presence from previous casts, especially those in the Pantheon (you know who you are). If I was a Dragon and presented with the singing and acting of the current Sam, Bill and Sky, I’d be forced to say in Dragon speak, “I’m out!” They make this “venture” very heavy lifting for the rest of the cast, and thus, not worth “capitalizing” until there is a major personnel shakeup.
- Timothy Winey
14 Apr 09
absolutely fantastic i have seen it in 2006, 2009 and 2009 lol 3 times!!!! and i am only 15! this show is the best show i have ever seen in london- and i DO go to A LOT of shows!!!!!! no joke i cant believe how good it is i recommend everyone to see it! the characters are amazing especially donna and the dinomos ;p also the boys in their swim trunks lol!! the best person in it is ben heathcote he is drop dead gorgeous and he is a great actor i would love him to dance for me instread of tanya in 'does your mother know' ahahaha!!!! thanks for making my childhood memories so unforgetable i am going to see it again in the summer!!!!! ben heathcote if you read this somehow please email me lol i love you lmao !!!! i love mamma mia!! x - genevieve mccarthy
09 Apr 09
Get a real life. The movie AND the stage show are both crap. I loved and still love Abba - a huge fan, but this drivel is embarrassing. I saw the show in New York, after everyone I knew seemed to have seen it in London and thought it was fab. I didn't get it and if I hadn't been so loathe to waste even more money I would have left in the interval. Full of gushing bad actors who tried weakly to make the audience believe that their renditions of Abba classics were spur of the moment dialogues. Brassy over the top bores who didn't convince me one iota. Refusing to throw up, I hoped it would getbetter. It didn't, but turned into a nauseating Abba karaoke at the end - as if we needed anything further to convince us that the characters were 2 dimensional and could never be believed. Anyway, years went by and I got over it. Then came the movie. Again, people said things like, "Yeah, the show is a bit twee, but the movie is so much better" and "My boyfriend actually cried". I watched it. I felt like crying too. Not out of any catharsis for the characters, but because I had been duped again and wasted a further pot of money. Sat with lots of chocolate, watching this crap, I attempted to laugh at moments, but truly knew it was not funny, butsad. Meryl, you were fab in The Devil Wears Prada, your zenith. This however had to be your nadir. Over the top reactions to 3 men turning up to your daughter's wedding. You would obviously open the door and say, Oh my god, what are you all doing here? Not, jump on the roof singing Mamma Mia here I go again! Go where? Down the pan, that's where. Another dull moment, on a cliff top warbling Thw Winner Takes It All, like a banshee. I half expected Pierce Brosnan to push her off the edge, shouting, "Shut up! You daft cow!" Oh and the gay reference! How crude. And of course he had to go "camp!" How boring. How 70s. We've moved on Benny and Bjorn. It's the 21st Century. I acn't comment on Pierce's "singing". I will be sick. Anyway, now gonna buy the DVD! - Richard Williams
19 Oct 08
Mamma Mia, the feel-good ADHD (Attention Deficit Hyperactivity disorder) movie of the year.
Where to begin? I don’t think I could have envisioned, in my wildest dreams, a better example of what is wrong with Hollywood. But alas, should we expect anything less where fame and money, regardless of how they are attained, are now the yardstick by which all things are measured? The fame and wealth legitimately achieved by the hard-working, highly talented ABBA stand in stark contrast to this abomination to everything they used to stand for. Why they chose to sell out for a quick buck they obviously don’t need, irrevocably besmirching themselves in the process, only they know? In order to reach the ADHD audience most likely to find this movie entertaining, I will attempt to clarify my thoughts in a vernacular more suited to their all-too limited capacity.
Oh my gosh! The music in this movie was like total crap; I mean who ever told Meryl Streep she could sing needs to get Cher drunk in a cowboy bar on Karaoke night so that Streep can hear herself sliding into notes like a pig farmer through poo. When I first heard the previews on the Internet I was like no way! My sound card must be malfunctioning (breaking)? My dog was like so upset he started howling, something he only does when he has an ear infection. I’m all, why didn’t they lip-sync it? If it was good enough for My Fair Lady and West side Story, it should be good enough for the caterwauling Meryl? Sorry Bubbles (Bubbles is the name of my cat I just like totally insulted by using the term caterwauling when describing Streep’s voice; [not even my dog howls when Bubbles caterwauls]).
Now back to “English for grown-ups.” Benny and Bjorn should be more than ashamed of themselves; they should donate all their ill-gotten proceeds from this fiasco to all the real singers and actors out there currently out of work. I’m sure that any backup singer used in this film would be infinitely more capable of singing all the tracks for Miss Streep who, to her credit, has shown more nerve than sense by butchering these timeless ABBA tunes, ridiculing herself before countless millions in the process (no offense to butchers intended or implied).
I’m personally stunned that the promoters of this film would actually expose themselves to the mockery this movie invites by releasing previews online before the actual premier! Are they deaf? Even the tempos are too fast, perhaps sped up to address the ADHD target audience’s limited attention span or mercifully limit the torture time on Meryl’s longer notes? I could write a thousand pages on why not to see this film but I won’t; instead I’m going to recommend it with a twist and here’s why. If people see this film and then go to the London stage production afterwards, there will be a rebirth of live theatre as well as the hastening of Hollywood’s long-overdue self-imposed, artistically bankrupt, greed-driven, suicide.
I didn’t think it was possible, but even Meryl Streep’s speaking voice was out of tune? After witnessing this dramatic, comic, vocal, and choreographic and cinematic meltdown, I can only blame a mixture of greed and ego. Phyllida Lloyd actually had the temerity to suggest in one of those insufferably nauseating pseudo-documentary infomercials masquerading as a “behind the scenes look at the making of the film” that anyone who doesn’t like this film is a cynic! “News flash Phyllida,” a pessimist is an optimist well informed, and your so-called “feel good” movie, made me wish there was a barf bag in a seat pocket in front of me. The girl chosen for the role of Sophie the producers claim to have fallen in love with was horrific. To say that her singing was slightly out of key would be like saying Gordon Brown has a slight charisma problem. Her emotional range went from giggling to confused. I didn’t believe anything she said. Her bulbous lips that looked like a botched collagen injection on a younger Angelina Jolie in a cheap blond wig quivering with ambiguous emotion made me feel that the title “airhead” would have been an intellectual and dramatic compliment for her.
Phyllida, you didn’t even have the decency to preserve the storyline from the stage version, which is in my view, living proof you didn’t give a diddly damn about anything but lining your pockets. In fact, since we are in a “fame for its own sake” mode, why not really shake up the story and have Sophie (played by Linzi Lohan) call off the wedding, not to see the world, but rather to run away with her true love (one of her friends played by Jodie Foster). Rosie O’Donnell could play the minister at the ceremony. I’m tempted to say that Pierce Brosnan was a joke, but there’s nothing more pathetic than a 50-something man who still thinks he’s 28 with no singing, dancing or stage acting talent in the role of Sam, nothing. We even hear from Meryl in a pathetic attempt at self-deprecation that she only made the movie to embarrass her 20 something children.
Why, for the love of Pete, couldn’t she simply have not sung for them at a family gathering instead of defiling the memory of ABBA in such a cynical manner? I cannot think of a more offensive display of false-humility laced with an almost spiteful swipe at all those younger, more deserving, but sadly less well connected Hollywood “wannabes” bussing tables out there who do not have her pull in Tinsel Town. I have been rinsing my mouth out with gasoline every day since the premiere, and I still can’t get rid of the taste. On a cinematography note, the camera crew must have suffered from both ADHD and epilepsy. Their disjointed haphazard rapidity of the scene changes made even a promotional clip of any other comparable movie look like time-lapse video of grass growing.
The producers of this “film” could have simply filmed the stage version in front of a blue screen. After all, if they can put Streep in a car in front of a blue screen that made the old Dukes of Hazard chase scenes look like the pinnacle of realism, why not ditch the car scene and film the entire play in front of beautiful scenery instead of that cheap, virtual “carnival ride?” Bizarre.
I thought I was going to have a seizure! It’s not the arrogance of the totally unqualified Hollywood power players muscling their way into roles they are infinitely unqualified to play that has me so upset, it’s the assumption that the public, by and large, wouldn’t notice, and sadly, for the most part, they didn’t.
Profoundly disappointed,
Timothy Winey
- Timothy Winey
21 Sep 08
When we last saw Mamma Mia in March I predicted that the film would be rubbish. Well, it's slightly better than that but everyone I know who has seen the stage show complained about the same things: actors who are too old and/or can't sing, songs left out or in the wrong order and a misguided belief that the story matters more than the music. The film was also very expensive as we just had to see the show again as soon as possible. I thought I might be slightly bored seeing it so soon but I needn't have worried especially as there seemed to be an extra crackle of electricity between the performers and the audience. Being a Friday we got to see Peter Challis as Harry. More Harry Hill than Colin Firth Challis has been part of the ensemble since Benny and Bjorn were kids - surely he deserves a run in a featured role by now. (Similarly Joanna Monro is worthy of a nomination as Best Supporting Acttress but that won't happen.) Also worthy of promotion is Charlie Bull who played Sophie. As well as being stunningly pretty Charlie is the first girl we've seen to play Sophie with remnants of teenage attitude which was very effective. Mamma Mia continues to provide an adrenaline rush of pure excitement and pleasure and I can't wait for our eighth visit. - David Baxter
23 Aug 08
Ïoëåçíûå ñòàòüè î Seo, ïðîäâèæåíèè ñàéòîâ è çàðàáîòêó â èíòåðíåò - AponnaFag
26 Jul 08
Saw the show last night - Mon 14th July. Was disappointed when I got to the theatre to see that Linzi was off - should have done my research as she never does Mondays now. We also had the 2nd cover Sophie, Lisa Sebold and her part of Ali/Lisa (can't remember which) was also being covered. Still really enjoyed the evening and Amanda Jacques was great as Donna - just a little young maybe...there seemed to a big age gap between her and her best friends! She had a great mother/daughter relationship with Lisa Sebold though and they both seemed to go on a great journey together. I've seen Joanna Monro a couple of times now and she was as good as ever and I really liked Jane Gurnett as Tanya.
It's interesting reading down these reviews how often there is an alternate or undertsudy on for a lead - almost every performance by the look of it!
I'll go again but really want to catch Linzi this time. - Salsa
15 Jul 08
I saw Mamma Mia yesterday matinee and thought it was terrific! The leading ladies were wonderful but I was especially pleased with the new dads. Having seen the show last year, these new boys were a breath of fresh air. Andrew Hall of Butterflies fame gave us a very honest and an hilariously funny portrayal of an Australian travel writer, Bill. A very stylish mover too! Paul Ryan was equally excellent as Harry and was smashing in'Our Last Summer', with wonderful comic timing and a lovely voice. Richard laing brought to the stage a great honesty and gravitas to the role of Sam, vitally impotant for a show like this, creating a dramatic backbone. And a great voice too!! Excellent. Thumbs up for this production, a joy !!! - angus
17 May 08
The Music. The Comedy. The Drama. The Sheer Brilliance. The Appeal. The Performance. Mamma Mia has it all. One of the best and most feel good shows in Town! - Hola!
31 Mar 08
Stop the Mamma Mia Madness!
Out of respect for the ingenuity and persistence of Judy Craymer, timelessness of ABBA music and the sparkling professionalism of select Mamma Mia cast members both past and present, I have restrained myself until now. Mamma Mia’s transparent casting modus operandi (there is no such thing as bad or irrelevant publicity) demonstrates a fundamental misunderstanding of precisely the kind of audience needed for its long-term success and is an insult to:
1. the universal appeal of Mamma Mia,
2. the foundation (both economic and creative) of the West end, and
3. the creative arts in general only serving to reinforce the all too justified stereotype of the West End as becoming increasingly panicky, myopic and greedy.
In a kind of “Big Brother” casting mentality (all publicity is equal), Mamma Mia specifically, and the West End in general, is sliding down a slippery slope that if allowed to run unfettered, will undoubtedly end in disaster. Casting directors seem to have reverted to playing simplistic marketing numbers games whose calculus defies all logic, even greed logic. Hollywood has already suffered immense credibility and hence financial losses due to committee-designed movies driven by “demographics” (trying to please everyone and pleasing no one in the process) in favor of letting coherent artistic works succeed or fail on their own.
It reminds me of traditional methods for trapping certain animals where the animal slips its hand through a small opening to retrieve food (food being the metaphor for publicity in any form), then in the process of grasping the food, they make a fist which enlarges their hand rendering their escape impossible. Such animals predictably panic and refuse to let go, even in favor of food within reach outside the trap (raccoons have even been known to gnaw their own hand off in order to escape. Why do you think that despite increasing economic growth everywhere else it was tried, England moved at glacial speed to ban smoking! The raccoon simply couldn’t let go of one pound to grab 5 from the silent majority (which ironically includes most smokers) who don’t always want to breath the airborne excrement of others.
My “no publicity is bad publicity” theory is not unsupported. I refer the reader to the TV CV’s of much of the new Mamma Mia cast. With the same kind of marketing brilliance that places the plea for the starving African child conveniently aired at dinner time during a sitcom, (who can be saved for 25p a day [complete with flies buzzing around his mouth, followed by the neglected dog that can be saved for a mere 50p daily, de-facto doubling the value of a dog’s life over that of a human’s]) a new, more insidious, kind-of “false egalitarianism,” based on the tyranny of the great unwashed majority watching the most base, badly acted and voyeuristic TV programs, becomes the new calculus casting directors seem to be relying on in order to simply put bums in seats without any regard for the long-term ramifications.
I can just hear the round table discussion of the great casting minds. “We’re not pulling in enough husbands who regard Mamma Mia as a stage version of a Chick Flick; any ideas?” “How about getting Jeremy Clarkson to play Sam? All these husbands that watch top Gear would go to see him?” “But he can’t sing?” “Pish posh, we’ll get him some lessons!”
To be perfectly honest, I can see no limit to how low it can sink. There is an old saying “A pessimist is an optimist well-informed, and I am all too well informed on the history of television to hold onto much hope about where this is leading. This may seem like a diversion but I think it is germane. I recently saw a truly disturbing program on TV, which showed just how deep the rot has already set in. A team of “Oxbridge” scientists tried to teach “edutain” [educate/entertain] a group of predominantly fat, stupid and lazy students on a program call “The Great Experiment.” This made Eliza Doolittle’s transformation from flower girl to model of poise and propriety look like a minor tune up.
These teenagers were so woefully void of basic science knowledge, common sense, respect for themselves and others, as to render any hope of the future for western civilization, utter folly. The beginning of the program showed these scientists, intrinsically motivated to share the wonderment of science with the “students” but equally afraid to bore them, kicking things off with a “bang” by concocting every type of laboratory explosion possible. The curiosity about how and why “things go boom” lasted about as long as it takes a typical teenager to text a misspelled obscenity to another libidinous, lobotomized slug. Thus, keen to preserve the false momentum they thought they had “hooked” these deprived youth with (who by the way garnered the unearned sympathy of the scientists after it was discovered that they (the students) were not allowed to conduct any experiments in the chemistry lab [more about that later]) they took them on a field trip to none-other than Soho to teach about the “noble” gasses illuminating the signs in the sex shops; I kid you not.
Talk about fighting fire with gasoline! Why not substitute heroin to wean people off of hash! So now we have a kid who cannot add single digit numbers with any reliability owing to his junk diet, video game induced lobotomy, mentally undressing his female colleagues with what little imagination he has left, learning about plasma in Soho! To cut my little trip down “edutainment lane” short, the scientists amusingly and pathetically mused, out loud, that they now knew why the teachers forbade their students to conduct experiments for safety reasons; and here the scientists thought these unenlightened teachers were just being lazy or spiteful! As a teacher, I could have told the producers of that show how it would turn out, which I suspect they already knew and in the process, succeeded in making the scientists look even more stupid (no small feat) than the knuckleheads they tried so hard to teach.
No amount of American Idol-style talent shows will ever succeed in elevating a relatively unknown and unproven talent to the status of a LINZI HATELY who, year in, year out, has proven herself to be a sure thing, and deservedly so.
I have a great idea. They already have celebrity boxing? Why not let the great unwashed reduce the vote to the last few Marias or Josephs or Nancys and decide the ultimate winner by some other, even more degrading means? The choices are almost limitless:
1. Tag team mud wrestling,
2. Strip poker
3. Nude auditions,
4. Fear factor themes (singing for the role while facing a pit of snakes, or leaches, or your mother French kissing Andrew Lloyd Weber? After all, the title is “I’d Do Anything,” a title that really gets my creative and sadistic juices flowing?
If for no other reason, the casting directors should feel some moral obligation to at least try to minimally honor what ABBA stood for, excellence. After all, ABBA was arguably the most perfectionistic pop group ever to record, and thus I feel it behooves the casting folks to take a little more care in the process by which they select those tasked with singing ABBA’s meticulously crafted music.
Since I have no illusions about appealing to the nobler side of the “West End Fat Cats” (no “CATS” pun intended or implied), I will appeal to your pocket books. The cost of mounting a production has grown exponentially over the last 20 years and makes it more critical than ever to ensure a show run longer in order to recoup the initial investment. Putting someone from a TV show into a West End production without the requisite skills to carry their fair share of the load, is a prescription for immediate success (bums in seats), followed by mid term disaster and long term apocalypse. Make no mistake; if the West End were any other industry, it would have been deregulated long ago. I can think of no other industry where the amount of money changing hands stands in such stark contrast to the complete mismatch of how those who make or break the industry are chosen, retained and compensated. For those of you who think I am a conspiracy theorist, I challenge anyone to find anything on salaries in the West End; do a google search, I dare you!
In a rational and just world, the cream should rise to the top as measured by how a show performs after a cast change. There should also be a program in place that compensates top talent who elevate the status of the shows they grace, even after they leave. After all, the litmus test of a show is not how many bums are in the seats after a TV celebrity is cast in any given role, but how many are there after he or she has gone. That is the true measure of a show’s equity.
Timothy Winey
- Timothy Winey
29 Mar 08
This great show has recently been refershed by a terrific new cast, one of the best we've seen, including Andrew Hall who I remember as a teenager in Butterflies which makes me feel very old. Holdovers include the excellent Linzi Hateley as Donna and the wonderful Joanna Monro as the funniest Rosie we've seen, a bit like a favourite auntie. I thought I might be bored with Mamma Mia by now but, partially because it's the first time we've seen it without any alternates or understudies, it's as much fun as ever. I'm sure we'll be back again for more - bet the film's rubbish though. - David Baxter
16 Mar 08
Here is an ethical and moral thought experiment for all you budding Mamma Mia philosophers out there. Imagine that you have just seen an emergency news broadcast detailing the certain obliteration of Earth by an unstoppable asteroid in just two short hours. Now imagine also that due to the strict “no mobile phone” policy in the Prince of Wales theatre, everyone but the cast has received the ominous news. Do you tell the cast and give them a chance to say their prayers, or do you keep them blissfully ignorant of their impending doom? I vote for blissful ignorance, “a noble lie” (sin of omission if you will). I will explain the philosophical justification for my decision in the context of the very special February 29th, 2008 London performance.
Firstly, what good could possibly come from telling the cast of their fate? I know that they are very talented, but let’s face it, like the difference between a genuine smile and a politician’s grin, no actor or group of actors is good enough to fake their own enjoyment of this show so convincingly. Secondly, What are the chances that both the cast and audience will collectively ever experience greater joy, not escapism, but the pure joy that should be the inevitable residue of sharing such an extraordinary performance?
If politicians really wanted to ensure certain re-election, they would use Lottery funds to subsidize Mamma Mia to mesmerize the population into temporarily forgetting about all the crumbling infrastructure in this country, making it not just “an entertaining night out” but rather a national, and necessary, mental health treasure/break.
Still basking in the bittersweet afterglow of Lucy Harris’s final performance as Donna, I actually forgave the Ministry Of Transport (MOT) for their utterly hopeless, myopic, third world-style road works, as I made the inevitable, poorly-marked, detour around the never-ending piecemeal construction on the M11-M25 junction.
Indeed, even the simple wiggling of Tanya’s (Jane Gurnett’s) foot (never the same way twice), on the bed where she fakes an ankle injury to avoid having to “suck or blow” an inflatable mattress, alone, would have made my detour more than worth it.
Hannah Robertson in my view, has a very unique talent that should, if there is any justice in show business, allow her to “name her poison” when selecting any role worthy of her gifts. The combination of her exquisite beauty, grace and musicality tempted me to assert that she has a “Movie Star” quality about her, but given the current state of affairs in Hollywood, I realize it could be taken, justifiably so, as an insult. Thus, I am now, officially, on the record, placing Hannah into my rarified Pantheon of Mamma Mia “Irreplaceables.”
I will miss Bill Austin’s (Paul Hawkyard’s) rapport with Sophie; he brings a great deal of quality and believability to his role.
Unlike the self-indulgent and pathologically narcissistic Hollywood pretty boys personified in Brad Pitt and Tom Cruise or “Brad Pratt” and “Tom Loose” as my son refers to them, Paul Shelford (Sky) much like Hannah (Sophie), projects a totally sincere, likable and believable character that must be, like Lucy’s and Hannah’s characters, on some level, a partial extension of himself. He will be sorely missed, as I fear he too, will be enshrined in the Mamma Mia Pantheon. I certainly will not be holding my breath awaiting his worthy replacement.
The comic timing of Jane Gurnett (Tanya) and Joanna Monro (Rosie), during Chiquetita was a masterpiece of the most densely packed hilarity I have ever seen, and sadly fear, ever will see, again. It stands alone, like a kind-of “banana bullfight” Mona Lisa of comic genius, that will be debated for centuries to come, with no clear definitive theory ever emerging to fully explain it. It may just be that the best any of us can do is simply gaze in wonderment, and not even try to explain why or how it affects us so deeply.
Jane Gurnett’s “Does Your Mother Know” scene was so outrageously funny, I thought my wife was going to hyperventilate. May I suggest to the theatre that they change their “fake” warning about nervous dispositions and white LYCRA and replace it with a real medical warning about Jane and install fully functioning drop-down oxygen masks! A friend of ours, who came to the performance, said her eyes were so full of tears from laughing at Chiquetita, she missed half of Dancing Queen.
Staying with the Greek theme for a moment, I truly believe that Mamma Mia is fundamentally misunderstood. I submit that it is not the “light-hearted romp” that so many believe it to be, but rather a kind of modified Wagnerian “Total Art” (Gesamtkunstwerk) experience, incognito.
In my view, whether Judy Craymer realizes it or not, she has, in a way, bested Wagner, and in so doing, has converted one form of psychic energy (catharsis) into another, pure joy, by juxtaposing outrageous comedy with the joyful music of ABBA with the potential tragedy of Sophie (Hannah Robertson) marrying too young and then narrowly averting the potential disaster of her youthful impulsivity at the 11th hour. Mamma Mia goes well beyond mere entertainment, which is why, like the Greek classics, it will live forever in the hearts of those who are lucky enough to internalize its deeper meaning.
I normally don’t like to reveal too much emotion in my reviews, but here I feel it is both necessary and instructive. Somewhat caught off guard by my own reaction, I kept telling myself, almost embarrassed, “get a grip Tim, it’s just a show, and a comedy nonetheless;” of course, my wife blubbering next to me didn’t help my best efforts at stoicism. So why did I feel as if I had been gutted during the curtain call? Why such a strong sense of loss?
Well, to put it bluntly, Lucy occupies her own unique category, and also still, in my view, partly because of her uniqueness, is not fully cognizant of the true depth of her powers. In some ways I suppose this is a good thing for the quality of her last performance, like the surgeon who is so focused on cutting, that he hasn’t the time to speculate on the consequences of failure for the patient’s friends and family, but for me, it serves as very little consolation, and in fact, only seemed to deepen my sense of loss.
It is now my firm belief that even after all the glowing words I have written about Lucy, I didn’t even scratch the surface of her abundant talent.
Now I know that you skeptics out there will say, “Come on Winey! how many times can you eat crow?” “You are a bigger flip flopper than the infamous Senator John Kerry, who unceremoniously lost the last US Presidential election in a landslide.” I can assure you that there is no crow on this menu. I have not forgotten my earlier reviews, but have had, what I can only call, an epiphany after discovering the deeper message of Mamma Mia, exemplified by the transition from catharsis to Joy, which Lucy (to my chagrin) instinctively discovered long ago, and in so doing, literally became Donna. The foundation of all great art is truth. And the “truth” of Donna cannot be arrived at through scholarship, only by instinct. I deeply regret not fully appreciating the full weight of Lucy’s instinctive discovery much earlier, but like so many things worth treasuring, we often discover, “tragically,” their true value only after they are nearly, or completely, gone.
To fully grasp the magnitude of my loss, the reader could combine everything I ever wrote about Lucy, multiply it by a thousand, raise that number to the power of 100, and then, like imagining an infinity of infinities, give up trying, and simply curse yourself until a real meteor does eventually strike you as just punishment for not having the good sense to fully appreciate her. Alternatively, you could reflect on my emotions during Lucy’s final curtain call. I felt as if it were the inevitable, end of an era, painfully and irretrievably, “Slipping Through My Fingers.” Lucy (Donna), Hanna (Sophie) and Jane (Tanya) clearly have gone far beyond the call of duty in their roles, and in so doing, have given me and my family many priceless memories that we will treasure always; in fact, had a real meteor actually struck me during Lucy’s final performance, I would most assuredly have died as happy as any man ever did.
God bless this cast, and in particular, Lucy Harris, for generously radiating so much joy to so many, in this all too weary world. They say that grief is the price of love, and so I doubt we will ever completely stop grieving over the loss of this “one off” Donna.
With our deepest, heartfelt gratitude,
Timothy, Grace and Hugo Winey
- Timothy Grace and Hugo Winey
03 Mar 08
I have seen Mamma Mia three times. Last Friday, I had the chance to attend one of the last performances for some members of the cast. It was brilliant. Going in, I did not know about the cast change. I do not follow Musicals that closely. The leading lady was brilliant. I certainly enjoyed every minute of it. At curtain call everybody was up dancing and singing. Congratulations to the cast leaving. Great show - Ruth Banks
03 Mar 08
Ex Donna Shines in Cabaret
Lauderdale House February 10th, 2008
“Life is a Cabaret My Friend”
Encore! Encore! How embarrassing for me to be the only one shouting “Encore” from the back of a tiny room at the conclusion of Helen Hobson’s Cabaret performance on February 10th, 2008, a date that will go down in cabaret history/infamy as the day when I personally broke down the barrier of polite, somewhat detached cabaret applause and instead, attempted to vocally remit some of the difference between what I paid to hear Helen, vs. the true value of what I actually received from her. I know it was selfish and presumptuous of me, to attempt to pay for Helen’s graciously conceded encore with mere shouts and extra applause, but what can I say, love is nothing, if not selfish; and I unashamedly loved/love Helen’s singing. I know what some of you are already thinking; “ Who shouts, “Encore!” in such an intimate venue; how gauche; what a clod; he’s clearly not a man who is attuned to the finer points of cabaret theatre,” etc., etc.) That being said, I noticed a tear or two in the audience that seemed to give Helen confirmation she struck the right nerve on more than one song, giving me hope that she accepts such direct physical, albeit circumstantial, evidence as at least partial payment in the currency of heartfelt appreciation.
For the remaining skeptics among you, rest assured, I am not easily deceived in matters musical. Helen’s singing and musicality are an exceedingly and increasingly rare (balanced) mix of power, polish, richly-textured yet never self-indulgent or self-conscious phrasing with a rich palate of tone colors, mixing effortlessly with crystal clear intonation, leaving me wanting for nothing! I repeat, nothing! Except of course more Helen, hence my irresistible reflex to shout Encore. It was if I had Tourette’s and could not restrain myself from shouting anymore than a real Tourette’s sufferer could resist shouting “Hippo” at a fat camp, except unlike a Tourette’s sufferer, I actually wanted to shout “Encore!” not its opposite.
I have never actually been hypnotized as I am a very skeptical person at heart. I’m told that people who are easily hypnotized have little difficulty suspending disbelief (they scare more easily in horror movies, have less difficulty believing their dodgy spouses’ increasingly flimsy excuses about where they have been and what they have been doing, etc.). In short, they are more gullible than most. Well, I must say that Helen probably came closer to hypnotizing me than any other artist in live performance. It truly felt as if every turn of every phrase was meant for me, and this is how I know she is an artist of the absolute highest order, and artist who makes every song her own.
I’m reminded of the never-ending debate among pianists as to whether Arthur Rubenstein was a better artist than Vladimir Horowitz. There are those who argue, persuasively that that Rubenstein was the better of the two insofar as he was always faithful to dynamic and tempo markings, whereas Horowitz took a bit more license. I’m sorry, but even though Rubenstein was no doubt a great pianist, Horowitz was a poet; he transcended the piano and in so doing, should have been exempt from such comparisons by “musical bureaucrats.” The whole Horowitz was definitely worth more than the sum of his parts, and clearly, so is Helen. My principal violin teacher, Werner Lywen, (www.wernerlywen.com) fled on the absolute last boat out of Nazi Germany to seek his fortune in NY, landing his first job as assistant concertmaster of the Metropolitan Opera. He would refer to that first job, on many occasions, as “accompanying singers.” It was not meant as a compliment. He used to complain, justifiably so, that singers almost always fell into two general categories:
1. Those who were decent musicians with weak voices, and
2. Those blessed with strong voices but cursed with weak musicianship/intellect
It was my distinct pleasure to discover that Helen falls into neither camp. She is the consummate musician imbued with seemingly endless powers of subtle phrasing and tone production all the while preserving the musical line and simultaneously transmogrifying each piece into a personal work of art. It’s as if she takes care of all the bureaucratic but necessary duties of cataloging, hanging, dusting, restoring all the works hanging in the national gallery during the week after painting them on the weekend! There are many singers who have effortless vocal technique that still serves them poorly due to weak musicianship; Helen is graced with an innate mastery of effortless technique that also serves, unselfishly, the highest of musical callings. Just as no good deed ever goes unpunished, I also believe that the virtue of Helen’s singing, must be, in part, its own reward; at least I hope it is, because I obviously owe her much more than I can afford to pay in lbs. I also owe a substantial debt to Helen’s accompanist, a musician of the highest standard attuned to Helen’s every expressive, rhythmic and dynamic need, seamlessly, almost clairvoyantly, weaving his selfless accompaniments in and out of her melodies.
Sincerely submitted by,
Timothy Winey
- Timothy Winey
12 Feb 08
My 6 time and it sill great fun and the cast stil llok as if they love it... but I still dont think its worth the top price ticket as the sets are unimpresive, when you look at what yo get as in mary poppins , billy elliot ,wicked and phantom. But go for a fun fell good night out i will go again - Richard Howard
25 Jan 08
It was my sincere pleasure and extremely good fortune to witness a very special performance of Mamma Mia on January 17th, 2008. After my wife’s friend was taken ill and could not use her ticket, I gladly stepped in as her “alternate” audience member. To say that the combined performances of Lucy Harris (Donna), Jane Gurnett (Tanya) and Hanna Robertson (Sophie) were noteworthy would be like saying Simon Cowell’s criticism can be a little harsh at times! Lucy pulled out all the dramatic stops, added extra stops, and then pulled those out too, extending the dynamics of her vocal emotional and comedic range well beyond what I thought was already her absolute limit. That’s the magic of Lucy; it’s as if she reinvents herself in every performance by drawing on some special powers, optimizing each performance depending on the cast and audience dynamics. The site and sound of Lucy jumping on the bed and singing Dancing Queen, left me simultaneously awestruck with her vocal, dramatic, athletic and comedic skills and equally concerned about her safety!
Just when I thought the scene couldn’t be milked any more, she pulled out a tennis racket and began strumming it in a way that words cannot do justice. At times, Lucy projects a kind of “ultra-believability” of character that seems almost unique to her. One could try and dissect it, but why? Frog guts do not, a frog, make! Like some kind of sadistic magical dairy farmer, she just keeps milking a proverbial musical, dramatic and comedic cow long after you’re convinced it must be totally dehydrated! There were substantial chunks of the show where I was drawn into the story in a state of total suspended disbelief. My son said it best when he said he felt like a fly on the wall. No sooner had I regained my composure after the bed scene, than Lucy emerged from a doorway with a purple-feathered scarf and sunglasses wielding her makeshift microphone (deodorant stick) and gyrating with such hilarious comic energy, that I’m still convinced actual sparks flew off her body!
Outdoing oneself seems to have been a recurring theme in the January 17th performance. Jane Gurnett’s “Does Your Mother Know” scene with Pepper went well beyond inspired; it was like 100 master-classes all crammed into one scene, all the while never slipping into a characterization of herself (a very real risk in such a role). Jane is the consummate professional, able to read, with razor-sharp accuracy, the timbre of the audience and adjust her timing accordingly. I feel that much of the subtler aspects of Thursday’s performance were lost on much of the audience. I wanted to stand up and shout back at them, “Did you just hear and see what I heard?” “Were you bussed in from a hospital specializing in mental, emotional visual, auditory, comic and dramatic disorders!” All kidding aside, I think the percentages of foreign audience members have quite a bit to do with the nature and degree of audience response, or lack thereof. Jane is never out of character, helping, along with Lucy, to create and sustain a magical state of suspended disbelief, making their respective characters, and the relationship between them, that much more believable/relatable.
Hanna Robertson was divine. She has expertly refined her character in quite subtle, but no less substantial ways, palpably expanding her vocal and dramatic range, rendering an already totally believable character, that much more so. It really is difficult to see where Donna ends and Sophie begins, which is a testament to their individual talents and obvious devotion to teamwork. Despite knowing the plot all too well, I found myself on the edge of my seat, rooting for Hannah to make the right decision, almost embarrassingly so, like a bored housewife escaping into a fantasy world of soap opera, except that Mamma Mia is no soap opera! Hannah has a unique, almost porcelain doll beauty, which only adds to her youthful innocence, making her decision to marry so young seem that much more impulsive and by extension, makes me want to save her from herself that much more. I’m glad she seems to be using less makeup. Her natural, youthful beauty, only adds to the innocence of her wide-eyed character. Hannah exquisitely exemplifies the fragility of youth and along with it, the gravity of her potentially life-altering decisions juxtaposed against so little life experience. Paul Shelford is very believable as Sophie’s fiancé, and delivers a very selfless, polished, and at times, genuinely funny performance. This Sophie and Sky fully convince me that they could be an actual couple, causing me to root for their happiness that much more. Hannah is truly blossoming into a force to be reckoned with in the West End. I’m not making this up; during the drive home, my son complained that his lips hurt and were beginning to crack because he couldn’t stop smiling! Notwithstanding Simon Cowell’s reputation for harshness, I doubt even his hardened show-biz heart could resist substantial softening at the magical performance I was lucky enough to witness.
Sincerely,
Timothy Winey
- Timothy Winey
18 Jan 08
It was my sincere pleasure and extremely good fortune to witness a very special performance of Mamma Mia on January 17th, 2008. After my wife’s friend was taken ill and could not use her ticket, I gladly stepped in as her “alternate” audience member. To say that the combined performances of Lucy Harris (Donna), Jane Gurnett (Tanya) and Hanna Robertson (Sophie) were noteworthy would be like saying Simon Cowell’s criticism can be a little harsh at times! Lucy pulled out all the dramatic stops, added extra stops, and then pulled those out too, extending the dynamics of her vocal emotional and comedic range well beyond what I thought was already her absolute limit. That’s the magic of Lucy; it’s as if she reinvents herself in every performance by drawing on some special powers, optimizing each performance depending on the cast and audience dynamics. The site and sound of Lucy jumping on the bed and singing Dancing Queen, left me simultaneously awestruck with her vocal, dramatic, athletic and comedic skills and equally concerned about her safety!
Just when I thought the scene couldn’t be milked any more, she pulled out a tennis racket and began strumming it in a way that words cannot do justice. At times, Lucy projects a kind of “ultra-believability” of character that seems almost unique to her. One could try and dissect it, but why? Frog guts do not, a frog, make! Like some kind of sadistic magical dairy farmer, she just keeps milking a proverbial musical, dramatic and comedic cow long after you’re convinced it must be totally dehydrated! There were substantial chunks of the show where I was drawn into the story in a state of total suspended disbelief. My son said it best when he said he felt like a fly on the wall. No sooner had I regained my composure after the bed scene, than Lucy emerged from a doorway with a purple-feathered scarf and sunglasses wielding her makeshift microphone (deodorant stick) and gyrating with such hilarious comic energy, that I’m still convinced actual sparks flew off her body!
Outdoing oneself seems to have been a recurring theme in the January 17th performance. Jane Gurnett’s “Does Your Mother Know” scene with Pepper went well beyond inspired; it was like 100 master-classes all crammed into one scene, all the while never slipping into a characterization of herself (a very real risk in such a role). Jane is the consummate professional, able to read, with razor-sharp accuracy, the timbre of the audience and adjust her timing accordingly. I feel that much of the subtler aspects of Thursday’s performance were lost on much of the audience. I wanted to stand up and shout back at them, “Did you just hear and see what I heard?” “Were you bussed in from a hospital specializing in mental, emotional visual, auditory, comic and dramatic disorders!” All kidding aside, I think the percentages of foreign audience members have quite a bit to do with the nature and degree of audience response, or lack thereof. Jane is never out of character, helping, along with Lucy, to create and sustain a magical state of suspended disbelief, making their respective characters, and the relationship between them, that much more believable/relatable.
Hanna Robertson was divine. She has expertly refined her character in quite subtle, but no less substantial ways, palpably expanding her vocal and dramatic range, rendering an already totally believable character, that much more so. It really is difficult to see where Donna ends and Sophie begins, which is a testament to their individual talents and obvious devotion to teamwork. Despite knowing the plot all too well, I found myself on the edge of my seat, rooting for Hannah to make the right decision, almost embarrassingly so, like a bored housewife escaping into a fantasy world of soap opera, except that Mamma Mia is no soap opera! Hannah has a unique, almost porcelain doll beauty, which only adds to her youthful innocence, making her decision to marry so young seem that much more impulsive and by extension, makes me want to save her from herself that much more. I’m glad she seems to be using less makeup. Her natural, youthful beauty, only adds to the innocence of her wide-eyed character. Hannah exquisitely exemplifies the fragility of youth and along with it, the gravity of her potentially life-altering decisions juxtaposed against so little life experience. Paul Shelford is very believable as Sophie’s fiancé, and delivers a very selfless, polished, and at times, genuinely funny performance. This Sophie and Sky fully convince me that they could be an actual couple, causing me to root for their happiness that much more. Hannah is truly blossoming into a force to be reckoned with in the West End. I’m not making this up; during the drive home, my son complained that his lips hurt and were beginning to crack because he couldn’t stop smiling! Notwithstanding Simon Cowell’s reputation for harshness, I doubt even his hardened show-biz heart could resist substantial softening at the magical performance I was lucky enough to witness.
Sincerely,
Timothy Winey
- Timothy Winey
18 Jan 08
I don’t normally take time to review pantomimes, but I had to share my excitement over the wonderfully produced and executed panto, Dick Whittington at the January 5th Hackney Empire theatre (matinee). To put it bluntly, I thought I’d seen it all in the way of panto, as a school teacher who makes annual pilgrimages to pantos with his students, I had no appetite to see yet another one. So I went, (more like was dragged) half kicking, half screaming, by my wife who frankly, wouldn’t shut up about Sophia Ragavelas. My argument for not going was simply this; if Sophia was really that special, she couldn’t possibly shine in a panto as my wife alleges she did starring as Sophie in Mamma Mia. After all, how much can one shine amidst a bunch of slapstick with the occasional song and dance routine thrown in between custard pie gags?
Firstly, no matter how predictable or formulaic the genre, this production was a refreshing reminder that well-timed jokes, well-sung songs and well-danced dances are still a delight. Sophia Ragavelas is the consummate performer who sings and dances as if she were imported from some fairyland of perfectly polished panto performers (pardon the alliteration). Even though this panto was the furthest thing from provincial community theatre, it might as well have been when contrasted with Sophia’s unique presence. My comments are not meant in any way to belittle the other cast members, but rather reflect my diminished capacity as a writer after still suffering from the stunned state Sophia’s performance left me in.
Anyone attuned to the finer points of theatre, or for that matter, anyone with working eyes and ears, must admit that the performance of Sophia was ethereal. Her singing was effortless with a refined yet full, richly textured and surprisingly powerful voice. Her movements and acting the personification of refined grace, and her overall likeability is something, I doubt not even as good an actor as she, could fake. I am an inventor, and my next invention will be to invent an automatic boot programmed to kick me in the backside every time my wife reminds me of my missed opportunity to se Sophia as Sophie in Mamma Mia. My only consolation is that she is supposedly starring in a production of Never Forget at the Savoy theatre in May of 2008. I plan to be one of the first to attend, and my wife will not need to drag me this time. It is said that in art, there is no small thing. Sophia left no stone unturned/unexplored as she poured every ounce of her abundant talent into her role, elevating the genre of panto to an art form I didn’t think possible, until now.
I’d love to write more, but I have to go to my workshop now, and get to work on my automatic kicker.
Sincerely,
Timothy Winey
- Timothy Winey
06 Jan 08
Mamma Mia is not a show. It is a tribute to ABBA. It has no real storyline and the jokes are recycled from a dirty Knock Knock joke book. Though I must admit the song and dance routines were performed well I was quite disappointed. I only hope the upcoming film version, doesn't lack in the acting department as the stage show does. - Naomi
23 Oct 07
I agree that Mamma Mia is a feel good show. That being said some cast members make me feel better than others.
In reference to the Suzy Jones comments, I must say, I'm almost flattered to be named in any intrigues in the West End. It is true that I wrote glowing reviews about Lucy Harris, reviews I stand by. However, before Suzy quits her day job to join MI6, I suggest she go and see Linzi Hately as Donna, and then ask herself if Linzi isn't a giant among dwarfs. As far as the peculiar Portugal connections, I lived and worked in Portugal for 4 years (taught and played music professionally) and know the music of Amalia well. That being said, one need not be a musician, or even well educated, to know who Amalia was. To write with my facility on the other hand, is an entirely different matter and I strongly doubt that any non-native English speaker could match pens with me.
Sincerely,
Timothy Winey
- Timothy Winey
25 Sep 07
MM is the absolute feel good factor show and I have seen many shows over the last few years with different casts.
I have been reading some of the reviews below and have some concerns over what's been written by Sue Earl and MM Mia Martins.
I have the feeling there may be hidden agendas behind their writings, especially as I have seen their comments repeated on other forums elsewhere. Their comments are very personal, particularly in the case of Lucy Harris (Donna alternate)and Tasha Sheridan (Sophie 2006/7), which are totally unwarranted. Lucy is a fantastic alternate Donna and well loved by the audience (why should a key change be a problem ... it's very common in musicals). Tasha never "lost the enchantment of her beginnings" and was in my opinion the definitive Sophie. She had the remarkable quality of performing every show as if it was her first night, (she also showed certain nameless performers how to work eight shows a week!) She has a beautiful voice and is a fine actress I await eagerly to see what she will be doing next! (I do know that she and Sarah Lark (also ex-MM)are doing a cabaret at Jermyn Street on Sunday June 3rd with Marianne Benedict (WWRY)) She also has a great figure and nothing like Sue Earl describes! I am always suspicious of people who make such nasty personal comments, which have no place whatsoever in a review.
I haven't seen Linzi Hately or the new Sophie yet, but I am told Linzi is fantastic. Joanna Munroe as Rosie is hilarious and such a talented actress. Ben Heathcote is still the definitive Pepper for me!
On reading the reviews below again ... has anyone else noticed the similarities in writing between Timothy Winey and Mia Martins ..... especially the manner of writing and the Portuguese references .. ? They could be the same person, so why the difference in opinion?
My investigative and sinnical mind leads me to the conclusion that it probably is the same person who is pursuing their own personal agenda ........ could Sue Earl possibly be a friend ... or maybe more comments by the same person .... ? There is certainly more to these reviews than meets the eye! Almost sounds like a falling out somewhere.
As for Mamma Mia! the show will go on and on, of that I am sure. If you feel down this is the show to see - you will come out singing and with a spring in your step!! - Suzy Jones
13 May 07
MM is the absolute feel good factor show and I have seen many shows over the last few years with different casts.
I have been reading some of the reviews below and have some concerns over what's been written by Sue Earl and MM Mia Martins.
I have the feeling there may be hidden agendas behind their writings, especially as I have seen their comments repeated on other forums elsewhere. Their comments are very personal, particularly in the case of Lucy Harris (Donna alternate)and Tasha Sheridan (Sophie 2006/7), which are totally unwarranted. Lucy is a fantastic alternate Donna and well loved by the audience (why should a key change be a problem ... it's very common in musicals). Tasha never "lost the enchantment of her beginnings" and was in my opinion the definitive Sophie. She had the remarkable quality of performing every show as if it was her first night, (she also showed certain nameless performers how to work eight shows a week!) She has a beautiful voice and is a fine actress I await eagerly to see what she will be doing next! (I do know that she and Sarah Lark (also ex-MM)are doing a cabaret at Jermyn Street on Sunday June 3rd with Marianne Benedict (WWRY)) She also has a great figure and nothing like Sue Earl describes! I am always suspicious of people who make such nasty personal comments, which have no place whatsoever in a review.
I haven't seen Linzi Hately or the new Sophie yet, but I am told Linzi is fantastic. Joanna Munroe as Rosie is hilarious and such a talented actress. Ben Heathcote is still the definitive Pepper for me!
On reading the reviews below again ... has anyone else noticed the similarities in writing between Timothy Winey and Mia Martins ..... especially the manner of writing and the Portuguese references .. ? They could be the same person, so why the difference in opinion?
My investigative and sinnical mind leads me to the conclusion that it probably is the same person who is pursuing their own personal agenda ........ could Sue Earl possibly be a friend ... or maybe more comments by the same person .... ? There is certainly more to these reviews than meets the eye! Almost sounds like a falling out somewhere.
As for Mamma Mia! the show will go on and on, of that I am sure. If you feel down this is the show to see - you will come out singing and with a spring in your step!! - Suzy Jones
13 May 07
The perfect antidote for a long and boring day at the Ideal Home Show, this is still the ultimate feelgood show. Obviously the plot is not excatly Ibsen but none of Mamma Mia's imitators have come close to matching te way the songs are superbly integrated with the story. One day I might get to see the "main" actress playing Donna, but the recent recasting has maintained the exuberance of this terrific show. - David Baxter
19 Mar 07
Had two understudies who were very good. A lot better than I expected. - Simon
