Who else has the muddy March blues?
 |
| Photo Credit: Tom Wallace, 2019 |
I don’t know a single Minnesotan who hasn’t felt positively demoralized by our last six weeks of hellish winter weather. Yes, it’s now 40 degrees and endlessly rainy, but what comfort is that when it feels like we will never see the sun again?!
 |
| Photo Credit: Tom Wallace, 2019 |
If you’re like me (and everyone else it seems) and are wrestling off some heartily thriving winter blues, look no further than Chanhassen Dinner Theatre (CDT) to raise your spirits. Mamma Mia, the ultimate musical of beachy sunshine and feel good tunes, just opened and if that’s not enough to put a smile on your face and a song in your heart, I don’t know what is.
 |
| Photo Credit: Tom Wallace, 2019 |
For a quick plot recap: Mamma Mia tells the story of Sophie, a young woman about to be married, as she searches for her father. She secretly reads her mother Donna’s diary for a clue of who he is and invites three possible candidates sight unseen to her wedding. All sorts of shenanigans unravel on the small Greek island Sophie and Donna call home as the guests arrive – including all three possible fathers and Sophie and Donna’s best friends – and each character reconnects to their pasts and their identities. The entire score is comprised of Abba tunes seamlessly woven in between the plot lines.
 |
| Photo Credit: Tom Wallace, 2019 |
Let me preface this review by saying that although I’ve seen this show in several iterations, Mamma Mia has always felt a little overblown to me; even for a musical the plot is a little overwrought, the songs tend to be vastly over-sung, and although I enjoy Abba’s music, it’s never been my preferred playlist to pop on at the end of a long day.
 |
| Photo Credit: Tom Wallace, 2019 |
All that said, Mamma Mia is a perfect choice to feature CDT’s perennially peppy cast members, and their trademark kitschy delivery is a great fit for this show. Even further, clearly there’s something I don’t know in feeling meh about the show overall – because Mamma Mia has been seen by more than 60 million people and grossed over $2 billion in ticket sales worldwide since it premiered 20 years ago. It was one of the first times that three women collaborated as a creative team behind a show, and its undeniable success has made a huge case for increasing the roles of women in creative and production teams across the theatrical world. That’s a story I can get behind.
 |
| Photo Credit: Tom Wallace, 2019 |
As I mentioned, CDT’s core of cheery cast members are perfect to deliver this show, and many long-term players steal the show. Kersten Rodau is flawless as Donna; she blows me away every time I see her, and I am so happy to see her front and center here in Mamma Mia. Jessica Fredrickson is blissfully peppy as Sophie and has just the right energy to lead the show, a sunny soprano to Rodau’s bold contralto. The crowd literally burst into applause at the sight of Michelle Barber and Therese Walth as Donna’s friends Tanya and Rosie, respectively, and it’s no wonder. Barber has never looked better, clearly enjoying swanning around as the vainest character of the show. Walth always seems to be relegated to the “funny friend” roles (can we get her a lead outside of Hairspray already? She’s tres fabulous), and she had the crowd absolutely roaring as the grounded and hilarious Rosie.
 |
| Photo Credit: Tom Wallace, 2019 |
The men take a back seat throughout the show for once (an unfortunate rarity in the musical world), except for the preponderance of washboard abs popping up all over the stage. Aleks Knezevich is his usual charming self as Sophie’s fiancee sky, and I was glad to see him back. Rush Benson is a scene stealer as the flirty young Pepper, and he gives saucy Michelle Barber a run for her money in their coquettish scenes. Michael Gruber has a pleasant groundedness as “headbanger” Harry; Jay Albright brings a physical comedy to his role as Bill Austin; and John-Michael Zuerlein brings a darker perspective to his role as Donna’s long-lost love Sam Carmichael. Zuerlein’s portrayal, combined with Rodau’s fierce Donna, brought a different kind of chemistry to Sam and Donna’s partnership than I’ve seen in the past; I think it gave this Mamma Mia a little more gravitas than it usually has, and I really appreciated the thought they put into their roles.
 |
| Photo Credit: Tom Wallace, 2019 |
The stage has been painted blue to resemble those gorgeous Grecian seas for this production, and it really brightens the entire show. I always enjoy seeing how CDT manages production design on its unusual stage size, and Nayna Ramey’s airy scenic design really gives the beach concept an efficient but breezy feel. Rich Hamson provides some flirty costuming, and combined with technicolor lighting design by Sue Ellen Berger it warms you up from the inside out (something we all need right now, no?). One of my favorite parts of CDT shows is always Tamara Kangas Erickson’s lyrical choreography; unfortunately Mamma Mia doesn’t allow for many true dance scenes, but several clever moments (such as a pseudo-tap dance done in flippers) utilize her trademark style and were crowd pleasers.
 |
| Photo Credit: Tom Wallace, 2019 |
In short: if you’re going to see Mamma Mia (or if you enjoy it more than I always have and it’s a perennial fave), CDT’s perky production is the one you need to visit. They put their trademark style on this show, and the talented musical cast and sunny dispositions of their portrayals are just what I needed to brighten my winter blues. What could be better to cure your seasonal doldrums than seeing one of the most successful musicals (especially produced by and for women) in history for Women’s History Month? It’s a two for one surefire winning idea, and a word to the wise: get your tickets ASAP. I’ve heard runs of Mamma Mia are already selling out and it looks certain to be a tough ticket to nab if you don’t book quickly. Click here for more information or to get your tickets.