Producer: Hamilton Musical Theatre
Director: John Drummond
Musical Director: Jonathan Hawthorn
Choreographer: Vicki Loynes
Mamma Mia!, the show finally did go on. That pesky global pandemic situation seemed hellbent on putting the cogwash on Hamilton Musical Theatre’s production of this glorious frolic through ABBA’s catalogue. Thankfully, the team persevered through all the challenges that were thrown at them between 2020 and 2022 including cast and crew adjustments due to availability and alert level settings.
At the red level, it was matter of showing vax passes and wearing masks in a socially distanced audience of 100 at Riverlea Theatre. But the masks were soon forgotten when the audience was swept up into the story and ABBA’s timeless music. An avid toe-tapper was sitting behind me and I felt that any moment they would burst into song in camaraderie with the cast. Shout-out to the people in Row F.
Set in 1999, daughter Sophie (Bethany Petrovich) is about to marry her sweetheart Sky (Zac Clarke) in the Greek Islands. Sophie’s mother Donna (Fiona Greaves) never revealed who the real father was so Sophie invites her possible fathers Sam (Lindsay Amner), Harry (Jonathan Kay), and Bill (Mike Scanlon) to her nuptials in order to establish paternity.
Sophie’s bridesmaids Ali (Madison Cruickshank) and Lisa (Sasha Kirkwood); Donna’s former band mates Tanya (Anne-Marie Case-Miller) and Rosie (Heather Connolly); and Sky’s best friends Pepper (Eckard Becker) and Eddie (Daniel Cruickshank) combine magnificently with the aforementioned during an entertaining weekend where secrets are revealed and ultimately love and happiness prevail.
Greaves delivered in spades. From her first song ‘Money Money Money,’ she showcased her great vocal range and excellent belt alongside terrific acting. Petrovich was captivating as headstrong and sweet Sophie. Her gorgeous voice was matched by great dancing and expressive acting.
The chemistry between Greaves and Petrovich was the finest example seen in recent years. The intensity of their mother-daughter relationship was incredibly realistic in the tender scene of ‘Slipping Through My Fingers.’
Case-Miller has an outstanding voice and presence for musical theatre. Connolly’s portrayal of the slightly crazed Rosie showed her ease at being on stage in character role that required physical humour, a spot on accent and ability to harmonise.
Vicki Loyne’s choreography was in keeping with the music and witty. Swan Lake’s Pas de Quatre in ‘Lay All Your Love On Me’ performed in wetsuits and flippers, and the inclusion of a Greek kalamatianos in ‘Voulez-Vous’ were massive crowd pleasers. The ensemble numbers were dynamic and energetic.
The magic of ABBA’s music is often found in the harmonies particularly backing vocals. The season is completely sold out, but I implore anyone who has a golden ticket to pay attention to the fantastic and occasionally tongue-twisting BVs off-stage that continue throughout the entire show. Backing vocals are crucial to creating a full and rounded almost concert-like experience, and musical director Jonathan Hawthorn did an excellent job of combining a cast of talented vocalists. Every line was delivered with clarity and there was nothing to fault with any diction. A few pitchy moments occurred because there were no starting notes, a downside of using a soundtrack. However, the cast worked exceptionally well with the music especially when the tempo of dialogue was paramount in providing segues into well known choruses.
John Drummond’s direction was solid and the well rehearsed cast appeared to be a tight unit who each had good spatial awareness and moved the appealing set pieces and props seamlessly when required. Drummond was also the lighting designer and ‘Super Trouper’ was a visual highlight that truly captured the fun atmosphere of Sophie’s hen’s night.
The costumes were well-curated and colourful, and there must have been a well-oiled team behind the scenes completing impressive quick-changes. The hair and makeup were stunning, especially the half up-dos of braids and curls.
I expect to see members of this Mamma Mia! cast going on to grace stages in the Waikato and further afield given the talent on display. In closing, this review wouldn’t feel complete if I didn’t give two further well-deserved shout-outs. Norman Tofilau, you were born for the stage with that million dollar smile, compelling performance and comedic timing. Ian Hawthorn - the priest was another highlight and cast and audience were spellbound by your humorous delivery and portrayal.
Congratulations to cast, crew and the production team and all the dancing queens who managed to snag a ticket before the sold out sign was lit. Despite a variety of restrictions, Hamilton Musical Theatre delivered an impressive, memorable and joyous show that will have people smiling and streaming ABBA songs for days, if not weeks.
Photo: Kerry Blakeney-Williams
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