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Abba Mania

★★★★

Shaftesbury Theatre

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Abba Mania

Abba Mania

Shaftesbury Theatre & UK Tour

Reviewed – 21st May 2021

★★★★

 

“the infectious atmosphere envelopes you and the bonhomie and banter sway in time to the backbeat”

 

Back in the heady hedonistic heyday of the early seventies, two young Swedish couples; Agnetha and Björn, and Benny and Anni-Frid, got together and embarked on an enterprise that would ruin both their marriages. But no matter, in the meantime they invented the Pop franchise, spawned a global industry of ‘tribute acts’, foresaw the jukebox musical, and thrust the music industry into the realms of multimedia and merchandise. They didn’t know this at the time, though, as they were busy with their in-fighting. But nevertheless, also creating a body of work that, nearly fifty years on, is still the soundtrack of people’s lives.

When the band broke up in 1982, it was decidedly ‘uncool’ to like ABBA. They were the biggest pop stars in the world. Yet while the musicians quietly stepped away from the limelight, the songs they created took on a life of their own. It is quite a phenomenon how the music has survived decades of cultural changes and artistic trends, ultimately uniting drag queens, housewives, hipsters, students and most in between.

“ABBA MANIA” is part of that legacy. Self-titled the number one touring ABBA tribute concert it swoops into the temporarily dark Shaftesbury Theatre to help re-open the West End with a party. Rule number one: if you’re invited to a gig like this, make sure your ‘plus one’ doesn’t stand you up, leaving you in the midst of an uninhibited (socially distanced) crowd and feeling like the sad, eccentric, dyed-in-the-wool fanatic, shyly tapping your feet whilst all around hips are swinging and arms are waving. At least I wasn’t wearing an anorak. But the infectious atmosphere envelopes you and the bonhomie and banter sway in time to the backbeat. “I thought I was coming to see Mamma Mia!”, a woman cries over the chorus – but not in the least disappointed. “I feel like I’m at a wedding in Manchester!” (whatever that means). “I f#@king love it… it’s so real”.

Is it real? The presentation of the numbers is spot on. Rhiannon Porter, JoJo Desmond, Edward Handoll and Loucas Hajiantoni take on the foursome with real panache and crowd-pleasing authority. We open with the Euro-conquering ‘Waterloo’, of course. Straight into ‘Voulez-Vous’ with added descant tipping its hat to ‘Moulin Rouge’, followed by all the favourites: ‘Knowing Me, Knowing You’ complete with audience participation with the glissando ‘a-ha’s’; ‘Mamma Mia!’, ‘Take A Chance On Me’, ‘I Have A Dream’ (which always reminds of a Coca Cola advert), ‘’The Name Of The Game’… The solo numbers stand out. For example, the stripped back ‘I’ve Been Waiting For You’, or the soaring voice in ‘The Winner Takes It All’ – a gorgeous moment, even if it doesn’t quite pack the emotional punch of Meryl Streep crying to the Aegean Sea from a windswept Skopelos hilltop.

The singers’ inter-song repartee is limited to reminding us of where we are. Which is a shame as we want to forget. We are in a rainy night in Soho. However, the performers are giving us every ray of sunshine we can get. The party is in swing; ‘Gimme Gimme Gimme’ follows ‘Super Trouper’ which follows ‘S.O.S.’. With the opening riff to ‘Dancing Queen’, it’s time to turn round and start watching the crowd. Spirits and arms are in the air.

Then it’s all over. Almost. The band are in the wings counting the foot stomps before coming back on stage. This tribute act claims to replicate ABBA’s final ever gig. It does, and it doesn’t. It certainly captures the essence, but it is unthinkable that there is any finality about it. As they sing out with ‘Thank You For The Music’, it is we who are really thanking them – for keeping it all alive. Like ABBA’s music, this show will go on. It is irresistible, timeless, belt-out, feel-good.

 

Reviewed by Jonathan Evans

Photography by Mark Senior

 


Abba Mania

Shaftesbury Theatre until 6th June then UK Tour continues – visit abbamania.com for details

 

Reviewed this year by Jonathan:
Sherlock Holmes: The Case of the Hung Parliament | ★★★★ | Online | February 2021
The Picture of Dorian Gray | ★★★★ | Online | March 2021
Bklyn The Musical | ★★★★★ | Online | March 2021
Remembering the Oscars | ★★★ | Online | March 2021
Disenchanted | ★★★ | Online | April 2021
Preludes in Concert |
You Are Here | ★★★★ | Southwark Playhouse | May 2021

 

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Showstoppers

Showstopper! The Improvised Musical

★★★★

Garrick Theatre

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Showstoppers

Showstopper! The Improvised Musical

Garrick Theatre

Reviewed – 7th December 2020

★★★★

 

“showcases impeccable talent, commitment and a glorious sense of humour”

 

Showstopper! The Improvised Musical uses audience suggestion to create a new musical every single night. This makes for a difficult review, as despite last night’s ‘A Change of Direction’, a piece about ‘out of work’ actors finding performances in their day to day lives, being brilliant, it will never be seen again. That being said, it is clear that there is an envious amount of talent on stage; from the musicians, who improvise each song and manage to keep in tempo and melody with the actors, to the actors themselves, who pull off such an impressive range, they truly blow you away.

Entering the theatre after the UK’s second lockdown would have been a treat enough, but Oscar Thompson (sound designer) collated an uplifting array of musical theatre anthems and the audience, despite being socially distanced, is immediately uplifted and ready to have some fun. On the front of the stage there is a large, branded banner, asking audience members to text in ideas for what the musical could be about tonight, as well as favourite musicals that they’d like the cast to style their improvisation to. With a ring of a red phone that lights up centre stage, it’s clear we’re ready to begin.

From the outset of the show, when an unnamed person (performed by Dylan Emery) answers the phone to a mysterious producer, the humour in the show is set alight. Emery announces that he is delighted to be finally asked to put on a musical after such a long period of ‘theatre drought’ and comically says that he will have it ready in 75 minutes without a problem. Emery’s intelligent and relevant humour works beautifully as he effortlessly engages with the audience throughout the show. He begins reading out the audience’s suggestions; what they have texted into him for musical ideas and themes. When the audience has decided (through cheering for their favourite title) the improvisation begins.

A standout performance was given by Justin Brett, whose charm and charisma was effervescent. However, an astounding level of skill was displayed by each person on the stage. The actors and musicians transition with ease between operatic numbers in the style of Phantom of The Opera, to making up rap on the spot so that they might imitate Hamilton. This show is particularly brilliant if you’re musical theatre knowledge is expert; if you know the stylings of Sondheim, to the opposite on the spectrum SIX, each impression is faultless. I worry that this might have been lost on first time musical theatre goers, but the cast and band’s ability would be impressive still. A highlight in the show occurred when the actors didn’t in fact get everything perfect; their panicked stares as it became clear they were running out of things to say was embraced by the other cast members and was celebrated with hilarity.

At various moments throughout the show, Emery will suddenly stand, freezing the cast and announcing a development he’d like to enforce (usually taken from the most outrageous message he’d received in from the audience) to ensure that the cast are keeping to a story arc and structure. This works perfectly should the cast begin to go off subject or reach a dead end in their improvisation. The only criticism I would have is that the cast on occasion don’t fully listen to Emery’s direction and so there is a tendency to labour the point a little, but perhaps they were buying themselves time to think in response to one of Emery’s daring requests!

All in all, this musical showcases impeccable talent, commitment and a glorious sense of humour. It was clear that no one on the stage was taking themselves too seriously, which is hugely welcome by a world starved of live entertainment.

 

Reviewed by Mimi Monteith

Photography by Geraint Lewis

 


Showstoppers! The Improvised Musical

Garrick Theatre – various dates until March 2021

 

Previously reviewed at this venue:
Brainiac Live! | ★★★★ | August 2019
Rip It Up – The 60s | ★★★ | February 2019
Bitter Wheat | ★★★★ | June 2019
Noises Off | ★★★★ | October 2019
Potted Panto | ★★★ | December 2020

 

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