Mamma Mia! – Edinburgh Playhouse and Touring

Mamma Mia!, reviewed at the Edinburgh Playhouse, continues on tour until February 2021.

Star rating: five stars ★ ★ ★ ★ ★

This adored show returns to Edinburgh at the beginning of a new tour, marking the show’s 20th anniversary. Led by Sharon Sexton in the role of Donna, the production feels fresh and new – a glittering celebration clearly enjoyed by the animated audience.

For those new to the show, Donna’s daughter, Sophie (Emma Mullen) is about to marry her lovely chap, Sky (Toby Miles). Having been raised by Donna as a single mum, Sophie has taken the opportunity to secretly invite her Mum’s lost loves to the wedding in the hope she’ll know her father the moment she sees him.

Cue confusion, angst and comedy as the preparations for the wedding take second place to Sophie trying to decide if she’s Sam (Rob Fowler), Harry (Daniel Crowder) or Bill’s (Jamie Kenna) daughter. This plot, coupled with Abba’s deceptively simple score make for a thoroughly entertaining show that lifts the spirits.

Simple and practical staging evoke the Greek taverna Donna runs with a dream of a more comfortable life just out of reach. The ‘Money, Money, Money’ number makes effective use of the stage and the Greek ‘chorus’ of the excellent ensemble.

Anthony Van Laast’s choreography matches music and mood to perfection. Allowing scope for individual performances breaking out from the exquisite ensemble pieces, the vitality of the characters shines through effortlessly.

Donna’s sidekicks – the Dynamos of Tanya and Rosie are simply sublime. The interplay is bang-on target: the lifelong friendship enjoyed by the threesome is clear as day in every gesture and glance. Tanya (Helen Anker) and Rosie (Nicky Swift) ramp up the comedy value in ‘Chiquitita’ and each relish their share of the plot. Just the kind of friends anyone would love to have.

The three potential dads strike up rapport rapidly in finely drawn characters that stop short of caricature whilst played for top comedic value. The episodic conversations each of the men have with Sophie as realisation dawns that she might be their daughter is skilfully handled, drawing the Act I to its finale.

Act II brings more shade to the plot. Sexton’s rendition of ‘The Winner Takes it All’ stops the show with a well-deserved ovation for her performance. Her Irish Donna is a fully-rounded character sweeping the audience along with every change in mood and tempo. As her scene with Sophie follows the showstopper moment, the shift to tenderness is heartfelt and genuinely moving.

Mamma Mia! has crossed a line somewhere and belongs to every single person who sees it. The intoxicating blend of music, dance, performance, character and generation has something there for everyone – join this celebration wherever and whenever you can!

Fiona Orr