I’ll admit it upfront: this might be a slightly biased review. I’ve always been an ABBA fan, the group, the films and the incredible virtual show Voyage. There’s something about their music that transcends nostalgia; the lyrics cut deep, resonate widely, and somehow feel as fresh today as they ever did.
With Mamma Mia!, I’ve often found myself wondering how the songs fit so seamlessly into the storytelling. In this production, it feels entirely of a piece, as though the script and songs were always destined to exist together. In reality, ABBA’s catalogue spans the 1970s and 1980s, yet here the music is woven so effortlessly into the narrative that it feels entirely unified with the story being told.
Created by Catherine Johnson, the show was conceived as a story centred on women, with ABBA’s catalogue, often written from deeply emotional, female-led perspectives, forming its natural backbone.
The stage musical opened in London’s West End on 6 April 1999, bringing ABBA’s much-loved back catalogue to the stage in a new narrative form. It was later followed by the globally successful film adaptation starring Meryl Streep and Amanda Seyfried in 2008. Since then, it has become a true international phenomenon, performed across Europe, the USA, Australia, South Africa, Japan and beyond, and remains one of the longest-running shows on Broadway
At its heart, Mamma Mia! tells the irresistibly joyful story of a mother, a daughter and three possible fathers, set on a sun-drenched Greek island where identity, love and memory collide. It’s a narrative elevated by ABBA’s timeless songwriting.
On stage at the Birmingham Hippodrome the production is fast-paced and sharply staged, with slick scene changes transporting us effortlessly between locations on the fictional island of Kalokairi. The ensemble work is tight and energetic, and the choreography drives the storytelling forward with real momentum, but, as ever, the real star is the music.
For ABBA fans, it’s a feast of hits from start to finish. Leading the company, Jenn Griffin as Donna Sheridan delivers a powerhouse performance, her vocals precise and commanding throughout. Her rendition of The Winner Takes It All is a true emotional high point, still and almost shockingly quiet in the auditorium, drawing the audience into a moment of shared stillness that lands with real force.
Lydia Hunt (Sophie Sheridan) also impresses, with standout musical moments including Gimme! Gimme! Gimme! and opener Honey, Honey.
Comedy threads its way throughout, with memorable scenes including the bedroom sequence between Donna and her lifelong friends Rosie (Rosie Glossop) and Tanya (Sarah Earnshaw), culminating in the infectious Chiquitita, balancing humour and heart beautifully.
While the male roles are somewhat overshadowed by the sheer vocal power of the women, perhaps inevitably given ABBA’s catalogue, they still deliver strong vocal work, well-defined characters, and comic moments. This is especially evident in ensemble numbers like Lay All Your Love on Me, which remains one of the most visually playful moments in the show.
Ultimately, whether you’re a lifelong ABBA devotee or a first-time listener, this production delivers exactly what audiences come for: joy, nostalgia and pure theatrical escapism. You leave the theatre feeling lighter, brighter, and very much part of something shared and uplifting.
