& # 39; Mamma Mia! & # 39; – a delicious fade at Mac-Haydn |

Mamma Mia
Book by Catherine Johnson
Music and Lyrics by Benny Anderson, Björn Ulvaeus
After the movie "Buona Sera , Mrs. Campbell "by Dennis Norden
Directed and choreographed by Bryan Knowlton

" Knowing me, knowing you, there's nothing we can do … "

This British import musical based on a series of ABBA songs from the 1970s has its third regional production here over the last three summers. I saw it in Weston, Vermont, in 2016; in Albany, New York, in 2017; and now in Chatham, New York. It's one of those shows that I never get tired of seeing. It's a nerdy piece, a kind of reality tricks, and yet every new vision reveals new ways to play certain elements and it surprises me and always delights me. Located on a Greek island, its cheese smells like feta, slips into a rather hot and melting brie, and ends up wallowing in a variation on Berkshire Blue. It is both tasteless and tasty, a kind of fondue of a musical. You can not resist diving into it every time he plays and the effect is hot, delicious and seductive. Do you always want more.

Fortunately, the layout of the play offers exactly twice after the prowess of the two most popular numbers, the title song and "Dancing Queen", the most enduring popular song of ABBA. "Abba" in Hebrew means "father", and it's a big-bear-dad of a show. There is also a standard layout for formatting a song – four sections with the opening section repeated at the end and the middle section played twice. Many of their songs take this very form and, theatrically speaking, this sometimes makes a song a song and not a traced moment. But their songs usually make you smile, pat your toes and sing to you, so that's fine.

The story is simple: The 20-year-old daughter of a retired rock singer is getting married and she invites three men to the wedding, each of which could be her father. She wants to know who her father is and to discover, therefore, who and what she can become. Her mother is upset by her appearance and marriage becomes a metaphor for lost opportunities.

The young Sophie Sheridan, played with a lot of sensations and emotional growth by Kelly Gabrielle Murphy, is in love with Sky, a beautiful and beautiful dancer Gino Cardoni. This couple brings a great sincerity to their roles. He plays the simple, open, understandable young man who has a unique mind that does not allow much variation. It's a nicer performance than many that I've seen, and even his anger is treated with some charm and grace. Murphy, on the other hand, shows more volatility than usual in the role and, as she overcomes her own fears and uncertainties, she acquires maturity and strength to replace them. This Sophie is perhaps the most rounded representation I've seen.

the tavern at which the wedding takes place, is played in this case by Betsy Padamonsky. This is not a great beauty, she clearly represents the music professional who gave up the practical work of running a business and raising a girl, getting older in the process in a mature, healthy and attractive woman whose youth can Be behind her but whose verve has never wavered and whose determination has been maintained. Padamonsky is a very good singer and an excellent actress and her Donna is up there with the best of them. She moved me with her song "The Winner Takes All" and also, for the first time I can remember, with "One of Us", a song that I like very much, but I felt that I was Heard, in this production, for the first time.

Her two best friends and former back-up singers, Tanya and Rosie, were played by Madison Stratton and Erin Spears Ledford. Stratton is heavenly like Tanya, much more married and multimillionaire, even better than in the role of Lady of the Lake last year in "Spamalot". She's not as funny as some Tanyas, but she's a definitive minx who knows how to seduce, conquer and overwhelm a man of any age. On the other hand is Rosie de Ledford, a professional cook and writer who can reverse the trend to negativity with his sense of thrust and traction. Ledford removes the most fertile aspects of Rosie and even her seductive and hilarious teasing of an eternal bachelor was funny, sweet and successful, without ever becoming offensive. These two actresses act as friends in virtual tracks. Bravi !!

The three men of Donna's life, especially in her past, are starring Stave Hassmer (Harry "HeadBanger" Bright), Colin Pritchard (Bill Austin), and Gabe Belyeu (Sam Carmichael). The story tells us that she has had sex with each of them in about a month and so anybody could be Sophie's father. However, from the outset, we have the feeling that one is most likely and, when they all prove to be at least emotionally available for the role, the trio becomes a symbiotically friendly single dad. Hassmer is wonderful like Harry – sweet, emotional, charming, all those things designed to make a girl proud. Pritchard provokes virility, and then wears this trait as well-fitting armor. Belyeu provides a belligerent romantic adversary to redress wrongs not really committed.

Circumstances provide reasons for the songs of these men and they take every opportunity to win positive hearts and nods from everyone except Donna. It's much more a "Taming Shrew" than a "Romeo and Juliet" experience, but it's a musical and a happy ending is anticipated. This show provides a double dose of happiness and laughter, so please do not rush out of the theater before the lights go up.

Sophie's two best friends, like her mother, offer lively musical moments. the show. They are played by the pretty, pretty and pretty Steffany Pratt and Emma Flynn. It's hard to take their eyes off when they're on stage

The same can be said of the singers and minor characters, especially Pepper, a bartender played by Atsushi Eda. His compatriot, Eddie, is played by Jayke Workman in a less conspicuous but equally strong role. This company dances a lot and sings a lot, on stage and behind the scenes, providing that unique sound that ABBA used in its recordings.

There were problems with the sound system during the opening night and this caused havoc in the audience. On stage, the troupe performed seasoned professionals. The show, directed and choreographed by Bryan Knowlton, felt a little under-repeated. There have been some very messy moments on stage, but I'm sure these will be resolved and cleaned up quickly with the sound problems. The dance was a little messy at times and figurative, almost like a mural. Kevin Gleason's sets were sometimes awkward and his lighting was irregular, sometimes he was completely missing from the cast, but it could be just a small technical problem in an otherwise remarkable performance. Bethany Marx provided perfect costumes, however, for each character.

The reference to the movie "Buena Sera, Mrs. Campbell," which appears in the notes to the critics, is a strange one. In this film, the single Mrs. Campbell raised her daughter with money provided by three former US soldiers, each of whom believes that he spawned the child on an innocent Italian youth. During a troop meeting, the three men arrive in Italy at the same time. It's really as close as the stories are happening but, since the theater mentions the film, it seemed important to follow it. It has nothing to do with it.

Cheesy is the show, but I love cheese and this time the fondue mentioned above is delicious. "Mamma Mia, here we go again … my, my, how can I resist that?"

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Mamma Mia! plays at the Mac-Haydn Theater, 1925 Route 203, Chatham, New York, until Sunday, July 22. For more information and tickets, see the Berkshire Edge Calendar, go online at http://www.machaydntheatre.org or call the box office at (518) 392-9292

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