People everywhere! A sense of expectation hanging in the air! Giving out a spark! This theatre’s glowing and they’re shining in the dark— it’s Mamma Mia! and it has landed at Beth Tfiloh Community Theatre for three performances only this summer! Directed by Diane M. Smith, with Musical Direction by Charlotte Evans, and Choreography by Rachel Miller, this ABBA-sensation splashy Broadway hit is not your grandmother’s Mamma Mia! With a more realistic, salt-of-the-earth grit, you’re getting to see the real story of Catherine Johnson’s libretto that so often gets lost and overlooked in favor of chimerical UV-reactive costumes and chaos. There’s still plenty of that ABBA feel you look for when you come to Mamma Mia! so worry not— especially if you stick around through the curtain call!
Picture it— unnamed fantasy tiny island in Greece circa 1999— well Set Designer Evan Margolis did picture it. And with an assist from Scenic Painter Laura Miller (and the construction crew spearheaded by Diane M. Smith along with Eden Vaday, Ari Brown, Hannah Ellentuck, Eli Levin, Ash Schwartz, and Jacob Zysman) they fabricated it into reality. The sandstone taverna set is right before your eyes with the iconic blue doors— which are fantastically functional— and window boxes trimmed with bright flowers. The taverna chairs are a hodge podge of mismatched furnishings— you wouldn’t have a pristine matchy-matchy set for an unwed, single mom, struggling to raise her daughter on an island where her daily go-rounds involve fights with the bank manager over the crippling mortgage of the place. The attention to detail as far as the set goes is not lost on Margolis or Miller and it’s a lovely 3D paint effect for a flat-back static set, putting you in the mood for the show.
If you’re seeking spectacle in this production, Tyrell Stanely— the show’s lighting designer— has got you covered. There is nothing if not wild flashes, pops, and full-spin gobos to knock this production’s illuminating techniques clear out of the park. The taverna lanterns (there are three) even have special cues to blink on and off with certain songs, one of which looks particularly enchanting when a certain line is uttered and they blink out before blinking back to life almost like the song lyrics were magical. Stanley loads up the party atmosphere for the “Megamix/Waterloo” concert-party at the end of the production and uses some of those same rainbow lighting effects during “Voulez-Vous” and “Gimme! Gimme! Gimme!” Instead of a mirror ball for “Super Trooper”, Stanley uses mirror-ball-water-drop gobos and the effect is quite striking. There’s a lot happening with the lights and it gives the fantasy component that so many come seeking when they hear ABBA is the songbook for the show.
Costumes are where the show’s aesthetic diverges hard from the fantasy-splashy-expected and into the lane of Director Diane M. Smith’s vision of aligning with the grittier, salt-of-the-earth narrative that’s actually woven directly into the dialogue of Catherine Johnson’s libretto. When Donna and her two dynamos appear for “Super Trooper”, traditionally you get those blinding silver-white wing-suits from the 70’s. Costume Designer Tiffany Zellner and assistant Donna Flaharty course-correct for this scene with denim jumpsuits that have been patched and rigged with what looks like countertop doilies, bits of curtain, and bed-skirts to create the ‘wings’ and leg ruffles. Hear me out— because at first I was just gaping at going ‘but where are the silver jumpsuits?’ too. If you think about the actual story— where Donna says upon first seeing Tanya and Rosie arrive to the island, “it’s been eight freaking years, Tanya!” and then they start recounting how over 21 years ago they were singing together, even going so far as to make a joke how Rosie couldn’t possibly fit into her costume from so long ago— having a cobbled together pell-mell jumpsuit like the ones that Zellner and Flaharty have put together (and let me be clear— they are wild and really fun to look at and exceptionally well-stitched, complete with rhinestone-bejeweled names of each character across the back) makes way more sense than these crazy shimmer-suits that so many productions are noted for using. You get a similar tactic deployed for the ‘costume switch’ at the end (I don’t want to spoil anything for anyone who has somehow come to live on this planet we call earth and has somehow not yet seen any form of Mamma Mia!) but when Donna races off stage after “I Do, I Do, I Do,” rather than returning in a complete ‘scene-appropriate’ costume flip…she returns with a makeshift bustle that once again looks like lovely Greek taverna bed-skirts. It just makes sense within the narrative of the story. Same with the way the scuba suits aren’t all perfectly matchy-matchy, and the simplicity of Sophie’s ‘white dress.’ It all fits the gritty, realistic, down-to-earth libretto that seems to get lost in the flash and spectacle of people have come to think of when they think of Mamma Mia! That said, you’re not going to be hurting for sparkles, sequins, glitter, or glitz come the “Megamix/Waterloo/Curtain Call” number. Every spangly, sparkly, glittery costume in the wider Baltimore Community Theatre world seems to have made its way onto this cast for that moment, and it’s fabulous.
If you’re looking for the place where the more ‘traditional’ Mamma Mia! concept comes together with this brilliant production at Beth Tfiloh Community Theatre, it’s in the vocals and the dancing. Choreographer Rachel Miller gives you high-octane routines— particularly during those up-tempo chaos numbers like “Gimme! Gimme! Gimme!” and “Voulez-Vous.” You get to see dance-offs happening during “Does Your Mother Know” as well. Miller has clean choreography that is well-spaced and well-placed on the stage and the moves fit the rhythm, tempo, style, and overall beat of each number. The dancing ensemble, featuring: Sofia Alverez, Jack Atkins, Zev Auerhan, Ava Correlli Lerew, Molly Foggo, Amelia Grace, Jamie Malott, Rachel Miller, Max Ozbolt, Samara Silverman, Matthew Trulli, and Atara Vogelstein, has you grooving and swaying from your seats every time they get to moving. And during that “Megamix/Waterloo/Curtain Call” number, half of those dancers flood out into the audience and give theatergoers an up-close-and-personal dancer-concert experience that is most unforgettable!
Mamma Mia! is unique in its musical orchestrations largely because of the sheer amount of ‘backing’ vocals required for each of the numbers. Nearly all of which happens from off-stage. Matthew Truli, a dancing and singing ensemble member, assists Musical Director (and pit conductor) Charlotte Evans by serving as the ‘backstage conductor’ for the performance and result is spectacular. You get a great sound of unseen ‘Greek Chorus’ style voices being piped in and they sound on beat, on point, and really impressive. Charlotte Evans works wonders with the large ensemble, featuring the aforementioned dancing ensemble in addition to— Yifaat Asher, Scott Babus, Noam Brandriss, Sharyon Bird, Lindsey Chase, Angelina Ferris, Lizzie Jaspan, Ada Key, Julie Kitt, Ella La Fiandra, Rachel Murinson, Rebecca Petersen, Sarina Ponczak, Victor Scigala, Clover Wellons and David Zisow (backstage only.) Evans brings well-balanced, beautifully harmonized sounds together to really augment the overall aural experience of the show. And her pit— featuring herself on piano, with Jerry Smith on keys2, Jarrett Rettman on keys3, Joe Napolillo on guitar, Arnold Gottlieb on bass, and Lisa Wood on drums— does the work of many being just six musicians and the effect is pretty impressive.
Director Diane M. Smith runs a pretty tight ship. There were only one or two moments where a scene change was taking just a smidge too long to get settled into place, but ultimately the pacing of the show is expedient and you get a solid, swiftly moving performance. Everyone on stage looks like they’re having a blast, which in turn encourages the audience to have a blast. It’s fun for everyone. “Under Attack” has a disorienting nightmare feel to it without being so absurd that you wonder how it got into the musical in the first place— though the best thing about that number is the moment when Shahmeer Mirza, playing Sky, waltzes out with confidence for miles in a wedding dress that looks simply stunning on him. It’s a bunch of fun moments, particularly when the kids start playing around during “Does Your Mother Know”, that really keep the energy of the production in a high, happy space.
They may just be Pepper, Eddie, Lisa, and Ali— Zev Auerhan, Max Ozbolt, Jen Leake, and Bella Comotto respectively— the ‘kid-sidekicks’ that support Sky and Sophie respectively but in this production you feel like these four are highly individualized characters there to really shake up the world, have a blast, and get the audience engaged with the whole story. You won’t be able to take your eyes off of Auerhan as he shimmy-dances his way through “Does Your Mother Know” trying to flirt it up with the Tanya character. And when Ozbolt starts doing handstand walks, you just lose your mind with applause. Both of these fellas have wild stage presences and are hysterical with their introductions early on in the performance. Leake and Comotto are the giggly, hyper-active besties of Sophie and from the moment they crash-land on the island, you can feel just how excited they are, which infectiously burbles up and over, pulling Sophie into their giddy glee. You get to hear Comotto and Leake singing with glorious gusto during “Honey, Honey” but they are belting their faces off as back-up singers who have suddenly become main characters in “Does Your Mother Know” where you can hear their backing harmony-lines of “Daaaance!” and “Fliiiirt!’ roaring over some of the ensemble sounds and it’s amazing.
Though the character of Sky isn’t given a whole lot to do (which is balanced against the larger arc of the libretto so you can’t complain too much) Shahmeer Mirza is nailing it in this role. Charming but grounded, sweet and just slightly aloof, you get the sense that he really is heart-crazy for Sophie but when doubts get called into question, you feel that shift of uncertainty; it’s raw and real. Mirza has a sensational voice that just glides through “Lay All Your Love on Me”, a duet he shares with Sophie and the dancing ensemble boys. And you won’t be able to take your eyes off of Mirza during that “Megamix/Waterloo/Curtain Call” finale number because he’s busting out dance moves left, right, and center with enough energy to power multiple cities.
When a trio of Donna’s ex-flames crash the party…invade the island…accident their way into a two-day invite? You know it’s going to be trouble. Bill Austin (Brian Singer), Sam Carmichael (Jamin Mears) and Harry Bright (Darren McDonnell.) This trio of fellas puts good blends together for their trail-out of “Mamma Mia” and they find their vocal marks during “Gimme! Gimme! Gimme!” As the main man, Jamin Mears is a little uneven in his performance. There were a few numbers where he lost lines while singing, though an argument could be made that Tatiana Dalton’s Donna is so impressive that it was a character choice to fall out of those moments of argumentative song. Mears has a decent voice but felt as if he were a little afraid of the role itself rather than of Donna, Sophie, and the situation.
Living up to his namesake, Darren McDonnell’s Harry Bright is exactly that, a big, bright ray of sunshine with beautiful bright vocals that carry all throughout the group numbers, but particularly in his two main feature songs. There’s a zany liveliness that erupts from within McDonnell every time his character gets excited. He’s halfway through reminiscing about the island when he spots that guitar and you half-expect that he’s going to rocket-launch his physical body up onto the wall to grab at it, that’s how excited he is. And his voice is pristine for “Thank You For the Music”, a song that ends up being shared with Sophie and the other two fellas. McDonnell brings such warmth and tenderness to “Our Last Summer”, waltzing around the stage with Donna during that duet that you feel your heart swelling and little happy tears start to prick at your eyes.
Sophie Sheridan (Daisy Mears) didn’t even need a microphone for this performance, so strong and powerful was her singing voice. Mears takes a happy-go-lucky approach to the character, even in moments of self-doubt, giving her that blissfully-alighted naivete of an ingenue, which makes for a fascinating juxtaposition against her mezzo-beltress capabilities. There is a hint of nervous vibrato in her voice when she sings the opening and closing renditions of “I Have a Dream” but you get that full-force, fully-fueled sound of a powerhouse belter during “Honey, Honey” and “The Name of the Game”, a song she sings at Bill (Brian Singer.) The tender moment shared with Donna during “Slipping Through My Fingers” reads as convivial and natural too.
Tanya (Kerry Jungwirth) and Rosie (Kendra Keiser) are two peas in a pod for this production, as Donna’s one-time-former-and-future back-up Dynamos! Jungwirth has an extraordinary voice that marries beautifully with Keiser when they launch into the slow-burn-ballad of “Chiquitita.” Eschewing the more traditional frivolity of this song, the ladies play this song straight and serious, crooning it at Donna rather than trying to joke their way through it, and musically it’s a mellifluous treat. Jungwirth also really sells “Does Your Mother Know” with a lot of vocal and physical confidence that makes the number exponentially more enjoyable— if you can stop watching the younger lads and their crazy dance-antics long enough to see her strut her stuff. Keiser, as the hilariously engaging Rosie, truly carries “Take A Chance on Me” with a vigor and panache that leaves the audience in stitches. As Keiser chases the Bill (Brian Singer) character all around the wedding aisles of chairs, she’s got this sparky-tiger person leaping out of her physicality and her voice and it’s just wild. Keiser also really gets down during “Dancing Queen” opposite both Jungwirth and the talented Tatiana Dalton.
Reigning Dancing Queen of the Baltimore Theatre Scene, Tatiana Dalton reprises her role of Donna Sheridan for what surely must be the 525,600th time but you feel like you’re getting a wild, sassy new experience with the perfectly balanced level of seasoned experience. You want someone who understands the vocal nuance of the character but who can simultaneously keep the experience fresh; that’s Tatiana Dalton. She’s not phoning it in, she’s belting her heart and soul out, particularly during “The Winner Takes It All” and she carries “SOS” with such tenacity that you feel like you might be under attack. And her rendition of “Slipping Through My Fingers” will make you cry.
They’ve only got two performance remaining and you won’t want to miss this talented cast doing their thing at Beth Tfiloh Community Theatre this summer season!
Mamma Mia plays three performances on Sunday August 18th 2024 at 2:00pm, Wednesday August 21st 2024 at 7:00pm, and Sunday August 25th at 2:00pm with Beth Tfiloh Community Theatre located in the Mintzes Theatre of the Rosen Arts Center on the Beth Tfiloh Congregation and Community School Campus— 3300 Old Court Road in Pikesville, MD. Tickets are available for purchase at the door, by calling the box office at 410-413-2417, or in advance online.
To read the interview with the three theatre goddesses of Mamma Mia!, click here.
