Mamma Mia!
Newcastle Theatre Royal
Until Saturday 28 February 2026
There are few musicals that can guarantee a smile on your face from curtain up to the final encore, but Mamma Mia! remains one of the most reliable feel-good experiences in British theatre. Currently lighting up Newcastle Theatre Royal, this production demonstrates exactly why the show has been seen by over 65 million people worldwide and continues to pack theatres more than two decades after its West End premiere.
For those unfamiliar with the story, the show is set on the Greek island of Kalokairi, where twenty-year-old Sophie Sheridan (Lydia Hunt) is preparing for her wedding to Sky (Joe Grundy). Desperate to be walked down the aisle by her father, Sophie faces one significant problem: she doesn't know who he is. After discovering her mother Donna's diary reveals three potential candidates, Sophie secretly invites all three men to the island without telling her mother. What follows is a sun-soaked celebration of love, friendship, and family, wrapped around more than twenty of ABBA's most beloved hits.
The genius of Mamma Mia! lies in how seamlessly it weaves Benny Andersson and Björn Ulvaeus's catalogue into Catherine Johnson's narrative. The songs aren't simply dropped into the action; they genuinely serve the story, enhanced by the fact that ABBA's own journey through marriage and divorce provides a natural emotional arc. From the instantly recognisable opening notes of the first number to the infectious encore, the score delivers everything from laugh-out-loud comedy to genuinely touching moments.
Jenn Griffin brings considerable warmth and vocal strength to the role of Donna Sheridan. Her delivery of "The Winner Takes It All" is a particular highlight, finding the emotional depth in what could easily become a showstopper for its own sake. It's a moment where the theatre falls genuinely silent, testament to Griffin's ability to convey real vulnerability within this most exuberant of musicals.
The three potential fathers each bring distinct personalities to their roles. William Hazell's Sam Carmichael represents the romantic past that never quite let go, Mark Goldthorp's Bill Austin provides much of the show's warmth and humour, whilst Richard Meek's Harry Bright offers a more buttoned-up counterpoint. The chemistry between these three very different men creates some genuinely funny moments as they navigate their unexpected reunion.
Sophie's two best friends, Ali (Bibi Jay) and Lisa (Eve Parsons), provide energetic support, whilst Donna's former bandmates prove equally entertaining. Rachel Oates as Rosie and Sarah Earnshaw as Tanya bring both comic timing and impressive vocal performances, with their numbers among the show's most enjoyable moments. Their rendition of "Dancing Queen" with Donna reminds us why this song became a global anthem.
Special mention must be made of the young male performers who bring real energy and skill to the choreography. Joseph Vella as Pepper delivers a particularly physical and committed performance, his movement work genuinely impressive throughout. Alongside Ethan Casey-Clothier as Eddie and Joe Grundy as Sky, these performers inject youthful vitality into the production. The choreography, originally by Anthony Van Laast, remains clever and inventive, with these young men tackling some demanding routines with evident enthusiasm and technical ability.
The live band deserves considerable credit for keeping the energy levels high throughout the evening. Under tight musical direction on the Thursday night that we attended from Ashley Jacobs, they navigate ABBA's catalogue with precision, from the disco-driven numbers to the more acoustic arrangements. There's something particularly special about hearing these songs performed live, and the musicians do justice to some of the most recognisable melodies in popular music.
What could seem like a minimal set design actually proves remarkably effective, with the two revolving sections allowing scenes to flow smoothly between the tavern's exterior and the upstairs bedrooms. Combined with effective lighting design, this creates everything from sun-drenched Mediterranean daytime scenes to the magical atmosphere of the wedding finale.
The production maintains impressive consistency with the West End version, proving that touring productions need not compromise on quality. The ensemble cast work tirelessly throughout, singing, dancing, and creating the vibrant community that makes the island setting feel alive. These performers don't simply fill the stage; they invest fully in the world of the show.
It would be easy to be cynical about Mamma Mia!'s formula, but there's genuine craft in how effectively this show works. Yes, it's designed to entertain, but it achieves that goal through strong performances, excellent musicianship, and choreography that looks as fresh now as when the show premiered. The comedy lands consistently, the emotional moments resonate, and the sheer joy of the piece proves infectious.
By the time the encore arrives, with the entire cast returning in full ABBA regalia for "Waterloo" and other hits that didn't quite fit the narrative, the audience is fully invested. The standing ovation at the Theatre Royal felt entirely earned, with audience members dancing in the aisles and singing along to every familiar chorus.
Mamma Mia! makes no apologies for what it is: a bright, loud, unashamedly entertaining celebration of ABBA's music. Some might dismiss it as lightweight, but there's real skill in creating something this consistently enjoyable. From the talented cast's vocal performances to the live band's energy, from the impressive dancing (particularly from the young male ensemble members) to the infectious spirit that permeates every scene, this production delivers exactly what audiences want from this show.
In an era when we could all use a bit more joy and escapism, Mamma Mia! at Newcastle Theatre Royal provides both in abundance. It's a production that reminds us why this particular jukebox musical has endured whilst others have faded, and why audiences continue to respond to its particular brand of sun-soaked, ABBA-powered entertainment.
Review: Stephen Oliver
Photos: Brinkhoff-Moegenburg
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