Review: 'Take A Chance' On MAMMA MIA! at Theatre Under The Stars

When attending a jukebox musical, it's expected that the best part of the show will likely be the cherished songs and vocals. MAMMA MIA! showcases music and lyrics by ABBA's Benny Andersson and Björn Ulvaeus, set to the story of soon-to-be-married Sophie on a quest to discover her true father before her wedding day. MAMMA MIA! tells the story of wild-child Donna and her daughter Sophie with a book by Catherine Johnson that is predictably a bit surface-level and 'cheesy', for lack of a better word. Of course, this effect is almost expected when adapting a collection of an artist's songs for the stage, and cheesy can be wonderful. However, there is a way to stage a musical of this nature without seeming inauthentic. There were moments in Theatre Under the Stars' MAMMA MIA! that worked, and some that didn't.

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After the hype of Theatre Under the Stars' MAMMA MIA around town, I had high expectations for the promise of a party-like production. Perhaps what felt a bit different about this production was that the vision did not feel as unified as usual--the projections were entertaining, but didn't seem to match the aesthetics of the costumes and set, for example. The top of Act I started beautifully with Going's "I Have a Dream", but the staging immediately following felt misdirected. Some scenes worked, and some others didn't, making me wonder which way each scene was going to lean, rather than being assured of their quality as I usually am with TUTS productions. Despite these rough patches, the show delivers musically in the dance and vocal performances, which makes the production worth taking a chance on.

Sally Wilfert was downright delightful as Donna Sheridan. I fell in love with her from the moment I saw and heard her voice, which was undeniably incredible. It takes a lot of talent to follow in the footsteps of the beloved Meryl Streep, but Wilfert's authentic and graceful presence didn't have me thinking of her predecessor in the slightest. She delivered a spectacular "The Winner Takes It All", and her final note quite literally made my jaw drop. She was Donna, through and through, and she carried the show with ease.

Donna's girl crew, Tanya (Felicia Finley) and Rosie (Carla Woods), were entirely at home in their roles. Finley was hysterical as Tanya, bringing the audience to a roar with her performance of "Does Your Mother Know?". Prancing around in her high heels and sunglasses, her subtle mannerisms and physicality made her character a joy to watch onstage. Woods, most recently seen as Mrs. Potts in TUTS' Beauty and the Beast this winter, was equally as enjoyable to watch, and performed Rosie with cheerful sincerity. It was easy to believe that these women were close friends dancing wildly around to "Chiquitita", having the time of their lives together, because they are. Scenes between these specific women felt genuine and meaningful, which made other scenes that lacked those qualities pale in comparison.

Berklea Going's light vibrato started the show beautifully with the ethereal "I Have a Dream". Going brings a Disney-princess style to her portrayal of Sophie, Donna's daughter. It was almost too cute, and at times felt at odds with the vulnerability in Wilfert's Donna. That said, she took on the vocals of the score with great vitality and seeming effortlessness.

Sophie's trio of potential fathers each had loveable performances, providing a lot of humor and earning favor from the audience. Mark Price (Harry Bright), Steven Bogard (Bill Austin), and Matthew Scott (Sam Carmichael) dove all-in to their distinct characters, each leaving an impression and winning lots of laughs from the audience. Scott's acting was both thorough and nuanced, and his portrayal made it easy to cheer for him in his pursuance of Donna.

Christopher Tipps was a certain standout performer in the featured ensemble role of Pepper, one of Donna's attendants helping run the hotel. You can't take your eyes off Tipps, whether he is dancing in the ensemble track or backflipping around hoping to win Tanya's affection. "Does Your Mother Know?" was electric and showcased both Tipps and Finley's abilities to sing, dance, and act a number through the roof.

The ensemble of this production deserves more than just a mention--I was floored by the energy and dynamic performances of each of the individuals, many of whom are current or former students of the Humphrey School of Musical Theatre at TUTS. I found myself itching for the group numbers, wanting to fast-forward to the moments of explosive energy choreographed brilliantly by Jessica Hartman. The Act I finale "Voulez-Vous" was staged and choreographed with perfect pace and challenging choreography, making it a certain showstopper. Hartman brought the numbers to life, creatively utilizing acrobatic, props, and pace in each number.

While not all of the choices felt artistically cohesive, each of the designers were skilled in their own right. Set Designer Timothy Mackabee created a functionally smart and beautiful set. His vast construction allowed for smooth location changes within the classic clay-and-plaster Greek buildings--a feat that certainly takes a lot of skill to pull off when dealing with such a large set piece. Costume Designer Leon Dobkowski dressed the performers in cute and colorful costumes that made me forget we are in the midst of the February cold here in Houston. Lighting Designer Jason Lyons was excellent at transforming the tone for each of the songs, tailoring the lighting so that it was both appropriate for the story being told, yet still eye-catching and entertaining.

After being a patron of TUTS productions for so long, I know how cleverly their team will present an already impressive performance to you, then amp things up with an extra trick up their sleeve. These are the moments that always catch me by delightful surprise, and tend to propel the performance above and beyond my already-high expectations. With this production, I found myself waiting for one of those moments. By the end of Act II, I understood the 'party' aspect of the performance that MAMMA MIA had been marketed with, as the fourth wall was broken to let the audience (already on their feet from the curtain call) dance and sing concert-style to more ABBA favorites led by the cast. Lyons took advantage of this moment with noticeably creative speaker and light rigs that flew in to complete the concert-like atmosphere.

While the scenes and staging left me feeling underwhelmed, the true pulse of this production is in the beloved ABBA songs recreated by the skillful nine-piece orchestra and Hartman's entertaining choreography that accompany them. Sally Wilfert's performance will make you look past the occasionally idle scene staging, and there is no doubt that you'll enjoy the vocal and dance numbers throughout the show.

MAMMA MIA runs at Theatre Under the Stars through March 3rd. Performances are Thursdays - Sundays. Ticket prices start at $30. For more ticket information, visit tuts.com or call the Box Office at 713-558-8887.

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