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Mamma Mia! The Party 

The O2

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Mamma Mia! The Party

Mamma Mia! The Party

The O2

Visited – September 2019

 

“you’d have to be the grumpiest stick-in-the-mud not to be swept along by the euphoria of the evening”

 

The phenomenal success of the Mamma Mia! stage show, which opened in London in 1999 is almost folklore now. Seen by more than 65 million people in over 450 cities and in 16 languages it was followed by the successful film, starring Meryl Street and Amanda Seyfried in 2008. Filmed on location on the small Greek island of Skopelos, it is perhaps one of the most ‘feel-good’ movies ever produced. At the end of each day’s filming the cast and crew would walk the narrow, winding alleys towards the harbour and have dinner in one of the tavernas. A favourite was one that looked out onto the Aegean Sea, run by Nikos, a widower with a young daughter. As the sun set and the moon rose, love blossomed and Nikos fell in love with Kate, the film’s costume designer. The rest is history, as they say. Although not quite – this is all in the imagination of Björn Ulvaeus (one quarter of ABBA and creator of Mamma Mia! The Party).

But imagine visiting Nikos’ Taverna under the tinted glow of a Grecian sunset twelve years later. The attention that the film bestowed on Skopelos is evident in the restaurant’s success; Nikos has enlisted quite a few hired hands including his now blossoming daughter, his wayward English nephew, an accident-prone chef and a host of all dancing, all playing, all singing waiters and waitresses. It’s hard to imagine, as you step out into the drizzle at North Greenwich Underground, that this oasis exists behind a sunburnt door tucked away in the O2. For four hours you leave your troubles behind and bathe in the bougainvillea scented air like you’ve just wandered off the beach and the night is yours. And what a night: a feast for all the senses. When not singing, the waiters bring you plates of Tzatziki, Spanakopita, Kleftiko, Yiachni, Baklava and Briam. You don’t understand what it means but it is delicious. And you don’t understand the show either, but you don’t care; you’re too busy loving every minute of it. As an ‘interactive dining experience’ it puts all other immersive theatre to shame. The scale is epic but the attention to detail is intimate.

But let’s not forget what this is all about. Three dozen Abba songs are rolled out between the courses. But don’t let that put you off. Even if you’re not a fan you’d have to be the grumpiest stick-in-the-mud not to be swept along by the euphoria of the evening. It starts off as a bit of fun but descends into spectacular chaos. High-brow it ain’t – but if you love Abba (and, yes, I’m including all those who pretend not to), and if you like a bit of escapism and fun then this is the show for you. It doesn’t come cheap but it’s worth every drachma.

 

Article and main photograph by Jonathan Evans

 

Mamma Mia The Party

Mamma Mia! The Party

The O2 until 16th February

 

 

 

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Come From Away

Come From Away
★★★★★

Phoenix Theatre

Come From Away

Come From Away

Phoenix Theatre

Reviewed – 18th February 2019

★★★★★

 

“truly unique and remarkable”

 

Telling the true story of what happened to the small town of Gander, Newfoundland in the immediate aftermath of the 9/11 terrorist attacks, Come From Away finally receives its triumphant UK premiere. 

The show, with book, music and lyrics by Irene Sankoff and David Hein was first produced in Ontario in 2013 and has since had record breaking runs in San Francisco, Seattle, Washington and Toronto. Opening on Broadway in 2017 it is now the longest running Canadian musical there and it’s not difficult to see why.

September 11th 2001, for reasons at first unknown to those in the sky, American airspace is suddenly closed to all traffic. Planes are diverted with thirty eight of them having to land at Gander Airport, more used to seeing no more than half a dozen landings a day. With the population of the town almost doubling within a few hours, every resident springs into action to help out in whatever way they can.

An outstanding ensemble cast of twelve play the townsfolk, passengers and crew. With one hundred minutes continuously onstage they effortlessly deliver some challenging songs in a variety of styles and perform clever choreography (Kelly Devine) whilst simultaneously flitting between several characters.

With a visually stunning, yet minimal set design (Beowulf Boritt) we’re transported from jumbo jet to bar, Dover Fault to cargo hold, all with little more than a dozen chairs, a few tables and some impressive lighting (Howell Binkley).

The phrase ‘rollercoaster of emotion’ is often overused, but for once it seems perfectly fitting. In Come From Away we witness love, prejudice, grief and joy – one minute the audience are laughing out loud, the next, wiping away a tear.

The devastating events of 9/11, one of the darkest moments in American history, may not initially seem like the best choice, or even an appropriate one, for a musical. But this isn’t a history lesson – the terrorist incidents themselves do not form the basis of the show, in fact they are barely directly mentioned – this is a story about kindness and the proof that evil will never succeed in breaking human spirit even in the darkest depths of adversity.

Throughout previews, the show has had standing ovations nightly – immediate ones from the whole audience. What’s more, most of the audience even remain for the play out track possibly because we get to see the hugely talented band who have spent most of the night tucked away in the wings.

A truly unique and remarkable show which I hope gets the audiences it deserves.

 

Reviewed for thespyinthestalls.com

Photography by Matthew Murphy

 


Come From Away

Phoenix Theatre until 14th September

 

Previously reviewed at this venue:
Chicago | ★★★★ | April 2018

 

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