Mamma Mia! is, to put it simply, a theatre critic’s nightmare. How can a show so publicly loved for its iconic soundtrack and setting be so unanimously panned by experts and theatre die-hards alike? With this disjunction in mind, I was worried that my first community theatre review would turn out to be underwhelmingly appreciative of the production. However, this was not the case, and right from Sophie’s first melody, I felt completely transported into the fantasy playing out onstage, and was impressed with many aspects of the show, despite any drawbacks brought about as a result of the (at times) thinly veiled & predictable script.

Despite this, Blackout Theatre Company have done a fine job with this beloved classic. Standout elements for me included Isobel Maynard’s bright and crystal-clear vocals, which really suited the youthfulness of Sophie, and the distinctive characterisations & performances given by the three dads (Adam Ring as Sam, Peter McArdle as Harry, and Tim Martin as Bill), which proved crucial in carrying the twists and turns of the plot in an entertaining manner. It was particularly impressive to hear Maynard’s and the dads’ voices blending brilliantly in duet and harmony, with ‘Thank You For The Music’ and ‘S.O.S.’ being particular highlights which showcased this.

My personal highlight of the show, however, was drawn from the featured ensemble. Right from Liam Vicari’s first appearance in the back window as Pepper, he drew my eyes with every entrance and every line, as the animated and energetic comic relief character. His Act 2 duet with Tanya (Nicole Cini) ‘Does Your Mother Know’ was emblematic of all this; hilarious, intense, exuberant, and easily one of my favourite numbers of the show.

One production element I’d also like to compliment was the set, but not for the reasons one may expect. Mamma Mia is a show synonymous with full-scale (and often wheelable) house-like sets, taking up substantial space, money and logistics. As such, Set Designer and Director John Hanna’s decision to stage this with a static set of flats and minimal moving set pieces proved extremely effective, drawing less focus than a more extravagant backdrop would (whilst still maintaining the traditional, classic Greek-island design), and allowing for simple and smooth scene transitions integrated naturally into the ensemble’s entrances. The show noticeably benefited from this, as characters were able to (literally) jump from one setting to another, and weren’t relying wholly on clunky elements of design to tell the story. Another added benefit was the additional stage space it left for the sizeable dance ensemble.

Speaking of, the ensemble in this show have a deceivingly hard track, as the majority of their work is done in the wings pit-singing. These backing vocals are a crucial component of what makes the ABBA sound so distinctive, and as such the cast (and Music Director Alvin Mak) should be proud of the sound they produced. There was the very occasional messy cutoff or slightly off-key harmony (backing ‘ooh’s for two hours is nowhere near as easy as it sounds), however, some songs (‘Super Trouper’ comes to mind as an immediate … number one) genuinely sounded studio-quality, which is an extraordinary standard to have worked a community theatre cast to.

It is clear as well that the cast are talented dancers as well as singers, with the Act 1 Finale ‘Voulez Vous’ in particular to be praised for its sharp and well-executed choreography. This energy was also present in the megamix-like reprises at the end, which brings me to one of my biggest reservations about Mamma Mia – three full-cast dance numbers such as these post-bow reprises consume substantial rehearsal prep & practice time. Credit to Choreographer Jess Edward and Assistant Emilie Woods, all three were equally vibrant and lively. However, this left the rest of the show feeling a little flat in comparison, particularly as the first iterations of ‘Mamma Mia’ and ‘Dancing Queen’ are performed in a simpler, more subdued way in Act 1, with less energy and intent from the ensemble. It unfortunately felt like it reflected negatively on the rest of the show that three of the strongest numbers came after the bows; whether this is a product of the team’s rehearsal allocation, the production’s design & direction, or simply the show’s curtain call-heavy structuring is impossible to properly determine.

After 90 minutes of ABBA-fied fantasy (and directly following four straight ballads), the final scenes of the show are crying out for (and thankfully receive) a farcical twist, which I felt lacked the appropriate chaotic pacing to properly convey the inherent humour within the wedding(s). Slight cracks in character combined with very static ensemble blocking (despite them all being onstage) left this scene feeling a little stagnant and insignificant. However, the chemistry onstage (in particular between Bill and Berny Em as Rosie in ‘Take a Chance on Me’) kept the audience well onside, laughing right up until the final ‘I Do’, and rising as one to sing & dance along to the curtain call.

I think this ultimately leads me to my conclusion on this production – there were some real standout elements to be proud of, but a couple of moments that, in reflection, leave it falling just short of a 10/10. It is a deceptively challenging show to mount, and given how flat the text can sometimes feel, any slight performance imperfections are (through no fault of the cast or team) consequently magnified. However, in spite of some scenes falling a little below my undoubtedly high expectations, this allowed other moments and actors (praised above) to properly stand out, which was a joy to observe from the audience. And no matter how unfulfilling the book sometimes was, it was clear that this production of Mamma Mia truly knew what it was meant to be, and never tried to be anything more than just that: a celebration of ABBA and love, fit for the whole family. Yep, even your third dad.

Mamma Mia! by Blackout Theatre Co is on its last weekend until 1st June at the Pioneer Theatre.
Book your tickets here.