With a Greek Island paradise wedding just around the corner, a young bride-to-be snoops in her mom’s old diary determined to find the father she’s never met, in order to make the day perfect. When all three of the potential dads actually show up to the wedding, campy chaos ensues and love endures as Sophie tries to untangle who she is and what she wants before tying the knot. Based on the songs of ABBA, with music and lyrics by Benny Anderson and Björn Ulvaeus, and directed by Phyllida Lloyd, the North American tour of Mamma Mia! now playing at the Kennedy Center is a loud, outrageous, over-the-top good time sure to make everyone into a “Dancing Queen.”
Setting the evening’s events in motion was the headstrong but drifting Sophie Sheridan, played by Alisa Melendez. With a silky and powerful voice, her presence and vocals were the perfect combination of strength and sensitivity for the young woman searching for answers outside of herself. From “I Have a Dream” and “Honey, Honey” with best friends Ali (Haley Wright) and Lisa (L’Oréal Roaché) to her standout (and trippy) interpretation of “Under Attack,” Melendez’s lyrically fluid alto tone was stunning throughout. “Lay All Your Love on Me” with fiance Sky, played by Grant Reynolds, was also particularly charming, showcasing the intensity of young love and a playfulness of youth that was central to the production.
Being forced to relive the choices of her younger days against her will was Donna Sheridan, played by Christine Sherrill. With the force of a rocker, Sherrill’s tone swelled into each note. While it had a staggered vocal effect when singing with others in upbeat numbers like “Money, Money, Money” and “Mamma Mia!,” it was perfection in the ballads — where Sherrill really shone brightest. The desperation of “S.O.S.” and especially “Winner Takes It All” were master classes in control, projection, and the power of raw, decades-old heartbreak.
Looking out for Donna through it all were her two best friends: the self-assured Tanya played by Jalynn Steele and the hilarious Rosie played by Carly Sakolove. As delightful in their solo moments as they were together in “Chiquitita” or as a part of Donna and the Dynamos in “Super Trouper,” these two filled every inch and every moment with joy. For Tanya, “Does Your Mother Know” literally and figuratively danced circles around everyone on the stage both in her vocal work and her footwork. Steele’s cool confidence commanded attention, from her looks to her voice, from the men she decided to toy with. With comedic timing for days and incredible physical comedy chops, Sakolove as Rosie was a fan favorite. “Take a Chance on Me” in particular (where she nearly broke the audience chasing Bill around the stage) was the cherry on top of a playful performance from start to finish.
Often tangled up in the drama were Sophie’s three potential dads, Sam Carmichael played by Victor Wallace, Bill Austin played by Jim Newman, and Harry Bright played by Rob Marnell. Each fully committed to the bit of their character and laced their personality quirks throughout like Easter eggs in the background. For Newman’s Bill, it was “Take a Chance on Me” that brought out his mischievous tenor while taking down his lone-wolf lifestyle. For Harry, “Our Last Summer” gave Marnell’s voice space to shine in a more serious way than the silliness of his character often allowed. And for Sam, “Knowing Me, Knowing You” was just an incredible display of Wallace’s vocal and emotional control (and then loss of control) for a man battling true love delayed 20 years.
But the undercurrent of energy of the production was undoubtedly because of the enthusiasm and charisma of the hard-working, fast-moving ensemble: Patrick Park (Pepper), Louis Griffin/Nico DiPrimo (Eddie), Blake Price (Father Alexandrios), Gabe Amato, Caro Daye Attayek, Adia Olanethia, Tony Clements, Emily Croft, Madison Deadman, Jordan De Leon, Patrick Dunn, Stephanie Genito, Jasmine Overbaugh, Dorian Quinn, Xavi Soto Burgos, and Amy Weaver. A blur of color, smiles, and jazz hands, “Gimme! Gimme! Gimme!” and “Voulez Vous” were exuberant examples of their dedication to the show and just how much fun they all were having together.
Supporting the cast was a creative team as boisterous and as colorful as the characters on stage. From the lively lighting design by Howard Harrison and sound design by Andrew Bruce and Bobby Aitken, to the dizzyingly spirited choreography by Anthony Van Laast and the incredible costume design by Lucy Gaiger, it was easy to see why this show has been bringing audiences to their feet for 25 years.
While jukebox musicals have become more and more commonplace, the story and characters crafted here from ABBA’s instantly recognizable songs are still one of the best examples out there, creating something joyfully timeless. A feel-good musical for any age, Mamma Mia! at the Kennedy Center is just the ticket for putting glitter in your veins and getting you dancing in the aisle by the end.
Running Time: Approximately two hours and 30 minutes, including one 15-minute intermission.
Mamma Mia! on its 25th-anniversary national tour plays through September 1, 2024, in the Opera House at the Kennedy Center, 2700 F St NW, Washington, DC. Tickets ($49–$209) can be purchased at the box office, online, or or by calling (202) 467-4600 or toll-free at (800) 444-1324. Box office hours are Monday-Saturday, 10 am-9 pm, and Sunday 12pm-9 pm.
The program for Mamma Mia! is online here.
Recommended for age 10 and up.
COVID Safety: Masks are optional in all Kennedy Center spaces for visitors and staff. If you prefer to wear a mask, you are welcome to do so. See Kennedy Center’s complete COVID Safety Plan here.
