Mamma Mia! Returns to Broadway: A Joyful, Slightly Slimmed-Down ABBA Bash
Hello, I’m Elena West. Get ready—this is big energy on Broadway and it’s bringing sunshine, sequins, and undeniable earworms back to the Winter Garden Theatre.
Listen up: “Mamma Mia!” reopened at the Winter Garden Theatre after a decade away, delivering two hours and 35 minutes of unabashed, feel-good escapism packed into an updated national-tour staging that’s currently playing on Broadway for a limited six-month run. The production, which pairs a lighthearted romantic farce set on a fictitious Greek isle with the indelible pop catalog of ABBA, landed Thursday night, and it reminds us that sometimes theater’s greatest service is pure, restorative joy.
Let’s break it down like this matters because it does: the show onstage is the national tour rather than a brand-new Broadway-only overhaul, which means the staging is leaner and more economical. Some once-familiar theatrical flourishes have been pared back—there’s no illuminated stone floor during “Voulez-Vous,” and the ensemble doesn’t pop over the taverna walls during the title number—so the spectacle is tighter, not gaudier. At first glance that austerity might prick a purist’s judgment, but the heart of the piece beats as strongly as ever.
Here’s the game-changing revelation: casting can save a show, and Christine Sherrill’s Donna is the production’s lifeline. As the resilient single mother and taverna owner, Sherrill brings a Goldie Hawn-like effervescence to the comedic moments and a surprising emotional gravity to the quieter ballads. Her “Slipping Through My Fingers” and the late-in-show “The Winner Takes It All” land with real sting—vocally and dramatically—earning both laughs and hushes from the audience.
Supporting performances push the energy even higher. Carly Sakolove and Jalynn Steele as the Dynamos—Rosie and Tanya—inject buoyant chemistry and comic clarity into songs such as “Take a Chance on Me” and “Does Your Mother Know?” Their playful timing and vocal lift keep the comedic motor humming, and the result is a convivial, crowd-pleasing experience where laughs and singalongs come as easily as a swig of ouzo.
On the men’s side, the trio of potential dads plays it straightforward: Victor Wallace’s Sam reads as the dependable romantic; Jim Newman’s Bill offers rugged charm; and Rob Marnell’s Harry provides nervous British comic energy. They don’t steal the show, but they fulfill their archetypal roles capably, which is exactly what this material asks for. The young lovers, Sophie and Sky—Amy Weaver and Grant Reynolds—bring sweetness and sincerity, rounding out a cast that favors warmth over fireworks.
Critics often sneer at jukebox musicals and sitcom-style plotting, but “Mamma Mia!” has always been an early and enduring example of how to marry well-known pop songs to an original stage narrative. It’s less about reinvention and more about uplift: a bright, breezy tonic for theatergoers who want to leave with a smile and a tune lodged in their head. Even with its frayed edges and thriftier scenery, the production’s foundations remain solid, testament to creator Catherine Johnson’s script and the songbook’s emotional versatility.
Here’s the final pep: the return run is short, only six months, but there’s no reason this joyous summer splash of ABBA should bow out early. If audiences pack the Winter Garden and word-of-mouth spreads—bolstered by strong reviews and standout performances—this leaner “Mamma Mia!” could prove that pared-down Broadway can still deliver maximal delight. So go see it, sing along, and let the confetti of 1970s pop wash away the drear.
Now take what you’ve learned and make tonight a musical celebration!
Sources: Celebrity Storm and New York Post, Winter Garden Theatre playbill materials
Attribution: Creative Commons Licensed
