Mamma Mia! – Harewood House, Leeds

Picture: Brinkhoff-Moegenburg

Mamma Mia! continues at Harewood House, Leeds until 30 August 2021.

Star rating: four stars ★ ★ ★ ★ ✩

Tenuous, I admit, but there is a link between Phyllida Lloyd (director of both the stage musical and 2008 Mamma Mia! film), Harewood House and me.

I was attending the launch party for a new season by Opera North at this stately pile just outside Leeds. Lloyd, who was staging an opera for the company that year, was also present. I had recently been immensely impressed by The Iron Lady movie (which she had also directed) and Mamma Mia! had obviously been an enormous success.

Nothing more natural than that a fan should approach this titan of the entertainment business and offer congratulations… but of course I couldn’t. Too intimidated by a stratospheric reputation and the enormity of her success, I diverted to the drinks table and sipped a white wine. What could I say to her that had not already been said?

Now, the mammoth success of Mamma Mia! continues in that very location. Everything about this whole experience is slick, from the speedy delivery of tickets to car parking (and leaving the site in under ten minutes) to designated seating areas. The audience is given every consideration.

Picture: Gavin Nugent

Perhaps the organisers could not have anticipated the coldness of the North wind, but the more prepared members of the audience had packed three blankets to huddle under.

Sara Poyzer, as Donna, is clearly the matriarch of the title. She dominates all around her, until daughter Sophie asserts her independence. Poyzer can belt with the best, but the more melodic the piece, especially in the duet with Harry (Daniel Crowder), the more appealing her voice becomes. Lucy May Barker, as Sophie, acts well and her singing is note perfect.

James Willoughby Moore, as Pepper, steals every scene he is in, not least for the athleticism of his dancing. He and the other members of the ensemble provide so much of the impact and energy the show depends on.

Mark Thompson’s set contrasts the stark white of a Greek hotel against the flamboyance of lycra that features in several of the musical numbers.

I am not sure many people actually wore costumes like the ones modelled by Donna and the Diamonds, but it is a knowing wink to those who may have been around in the 1970s and an opportunity for youngsters to send up their parents.

Musical supervisor Carlton Edwards delivers exactly what the audience wants: accompaniment sounding as close to the original tracks as possible. Similarly, Andrew Voller’s gaudy lighting fits perfectly with the tone of the show.

So what more is there to say about a worldwide hit that, in addition, has spawned two films? It’s great fun.

Mike Tilling