Mamma Mia brings sunshine to The Curve 

Now in its 26th year, Mamma Mia! remains a global phenomenon. In a season of persistent grey skies, this show feels like bottled sunshine no matter how rainy it’s been outside.

Powered by the instantly recognisable catalogue of ABBA, with music and lyrics by Benny Andersson and Björn Ulvaeus, the story transports us to a sun-drenched Greek island. Here, Donna (Jenn Griffin) and her daughter Sophie (Lydia Hunt) have lived peacefully for over two decades until Sophie secretly invites three possible fathers to her wedding to Sky (Joe Grundy), unleashing inevitable chaos.

From the outset, the production radiates energy. The band’s opening medley invigorates the audience before the curtain even rises, setting the tone for a relentlessly joyful, high-octane performance. The cast is so exuberant it sometimes feels as though a bundle of Labradors has been let loose on the ABBA soundtrack – unreserved yet endearing enthusiasm in abundance.

One of the standout sequences is the hen-do medley, the rapid pacing helping the show hit its stride before the interval. Here, dynamic choreography and the sheer force of the ensemble combine to build maximum drama. Visually, the staging is simple but effective. The central taverna set cleverly splits to shift us from exterior to interior scenes, allowing for fluid transitions without disrupting the show’s momentum. It’s an unfussy design that keeps the focus on the music and the performances.

Narratively, the musical trims much of the relationship-building between Sophie and her three potential fathers you might be familiar with from the film. While this might seem like a loss on paper, in practice it doesn’t feel like anything is missing. The audience’s familiarity with the story allows the production to move briskly without sacrificing emotional clarity. Each of the men is sketched with enough distinct character: Bill (Mark Goldthorp) as a globe-trotting lone wolf, Harry (Richard Meek) as a settled London banker with a rebellious past, and Sam (Luke Jasztal) as a covert romantic still pining for Donna after 21 years.

Vocally, the show is carried by its female cast. Jenn Griffin and Lydia Hunt lead with confidence, with Hunt giving Sophie a bright, earnest energy that helps anchor the story. The dynamos playing Tanya and Rosie add both vocal power and comic flair. The male vocals are more uneven, but what they may lack in polish, they make up for in sheer charisma. 

While she may not technically be the lead character, Griffin’s Donna provides its emotional core, particularly in “Slipping Through My Fingers,” a beautifully grounded moment as Donna confronts the reality of her daughter growing up. 

Donna’s loyal friends provide much of the evening’s laughter. Rosie (Rosie Glossop) is a scene-stealer, with razor-sharp comic timing, particularly during “Take a Chance on Me,” which lands as one of the production’s biggest highlights. Tanya’s “Does Your Mother Know” is equally memorable with its playful confidence.

Ultimately, Mamma Mia! offers two and a half hours of pure escapism: vibrant, familiar, and joyfully unpretentious, playing at The Curve until 29th March 2026.