'Mamma Mia!' Tour Pop-Rocks the Historic Auditorium Theatre

I have news for all you fans of Donna Sheridan: "Mamma Mia!" isn't about her, it's about her daughter! You know, the one on both the CD covers (stage show and movie), the one on the posters, and the one who begins and ends both acts of what is now being called "the World's # 1 Show." Yeah, her. Sophie Sheridan.

Playing Wednesday through September 28, 2008 at the landmarked, architecturally and culturally significant Auditorium Theatre, the bus and truck tour of the smash hit musical "Mamma Mia!" (based on the songs of ABBA by Benny Andersson and Bjorn Ulvaeus) is pretty much the same production that is playing in 11 different spots around the world, save a set piece or two. And Chicago theater's latest gift to the world, the saucy and engaging Susie McMonagle (nine Jeff nominations to her credit) plays Donna with all the star power wielded by Meryl Streep in the recent film version and with much more vocal charisma. As a middle-aged independent woman raising a daughter and running a business on an idyllic Greek island, she is thoroughly wonderful, hitting high point after emotional high point and rousing the crowd more than once with her eyes, her smile, her voice. McMonagle's many fans will be thrilled to see her here. 

But the character who drives the action of the show, and whose realization of the things truly important to her provides the impetus for all the resolutions of the plot, is the twenty-year-old Sophie, the young woman planning a wedding and attempting to find out which of her mother's old boyfriends is her father. And Chicago is lucky enough to see Rose Sezniak in the role, at the beginning of what will hopefully be a very long career. With a learned catch in her voice and a smartness that would drive many a young man to both longing and despair, Sezniak makes us care very much about which man is her father, and makes us wonder if knowing for sure will finally make her life the dream she wishes it to be. She thoroughly inhabits Sophie's journey, and sings arrestingly. We will hear much more from her, I can assure you.

As the most fully rounded character of the possible fathers, divorced architect Sam Carmichael, John Hemphill (Electricity from those Propane TV commercials) unleashes a slam-bang pop-rock tenor voice on "S.O.S." and "Knowing Me, Knowing You." Chicagoan Michael Aaron Lindner sings "Our Last Summer" with McMonagle sweetly and touchingly as the former "headbanger," Harry Bright. And the curly-haired Bill Austin of Martin Kildare is a lively, manly presence.

As Donna's two old bandmates, Kittra Wynn Coomer recalls Judy Kaye in the role of Rosie, and Michelle Elizabeth Dawson's Tanya is a blend of Christine Baranski, Carolee Carmello and an over-eager tanning booth. Donna, Rosie and Tanya, three "women of a certain age," sing a really well-done "Super Trouper," and they each have a featured spot in the second act, "The Winner Takes It All," "Take a Chance On Me" and "Does Your Mother Know," respectively. Other high points include McMonagle's "Slipping Through My Fingers" (a truly moving mother/daughter moment that encapsulates much of the evening), the sexy young men of the ensemble engaging in some Susan Stroman-like choreography in scuba gear and flippers during "Lay All Your Love On Me," and several renditions of ABBA's only # 1 chart hit in the U.S., "Dancing Queen," complete with delightful air piano chords. (The choreographer is Anthony Van Laast, who provides one of his trademark "megamix" finales a la "Joseph and the Amazing Technicolor Dreamcoat," stretching the evening out just a bit beyond its slight frame, but pleasing the crowds, nonetheless.)

This is a pretty tight tour as tours go, all in all. Phyllida Lloyd's direction of the exposition-heavy book by Catherine Johnson keeps everything moving as much as possible in the sometimes disorienting first act. But just prior to the intermission, the stakes go up and the characters become suddenly real, and the show continues levitating in a straight trajectory until that curtain call/megamix moment. The sets and costumes ("production design") by Mark Thompson evoke the Mediterranean, albeit a slightly fairy tale one, with an assist from Howard Harrison's bright lighting. There is very loud sound design by Andrew Bruce and Bobby Aitken, and music director Susan Draus leads the orchestra, joyfully bringing to life ABBA songs like "Chiquitita," "Money, Money, Money," "The Name Of the Game" and of course the title song. 

The young singing and dancing chorus emits much appeal and energy, though to be fair it is sometimes unclear exactly who they are and why they are there. The opening night audience certainly had a fine time with "Mamma Mia!," and the show may actually play better than it did before, now that this summer's hit film version of the show has been seen by so many people. (Worries about the connection between vintage Swedish pop songs and Greek islands seem to have faded since the show's 1999 London debut.)

For all ABBA fans, for women of all ages, for those looking for a little eye and ear candy, and for those looking for a painless way to spend a few hours with some old and new friends, this "Mamma Mia!" will do the trick. This month Chicago is seeing the most Broadway and Broadway-bound productions that we have simultaneously hosted in who knows how long, and this one is once again a welcome visitor. It means us no harm, and it pleases us if we let it. Savor it, Chicago. It's "Mamma Mia!"  It may be our "Waterloo," but we should all say, "Thank You For the Music."

"Mamma Mia!" performs at the Auditorium Theatre of Roosevelt University (50 E. Congress Pkwy. in Chicago) Tuesdays through Sundays until September 28. Tickets are available at all Broadway In Chicago box offices, by calling (312) 902-1400, through Ticketmaster Retail Locations or online at www.ticketmaster.com. For more information, visit www.mamma-mia.com or www.BroadwayInChicago.com.

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