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THEATER REVIEW

ABBA-cadabra

`Mamma Mia' still has that groovy `70s magic

By Chris Jones

Tribune theater critic

Published December 16, 2006

I've seen the ABBA musical "Mamma Mia" seven times now -- in London, New York, Las Vegas (twice) and Chicago (thrice). So I rolled over to the Cadillac Palace Theater this week merely as a selfless service to the reader -- a quality check to ensure that the troupers are still super, the dancers are still queens and "Voulez Vous" still has that je ne sais voulez.

You gotta watch these touring productions -- the bus-and-truck "Mamma Mia" now visits the kinds of towns where listening to ABBA remains a subversive act, punishable by law. I bet this crew is happy to be in Chicago for Christmas.

And we're happy to have 'em.

Like a Consumer Reports auto tester who falls in love with a Honda, I'm a sucker for "Mamma Mia," which I regard as one of the great light theatrical entertainments of our era. Why? First and foremost, these are brilliantly infectious melodies (with vaguely leering lyrics, but we'll let that go). Second and nearly as foremost, this show is Exhibit A in my imaginary forthcoming book, "How to Write a Jukebox Musical."

Rule 1: Create a simple, emotional, appealing story that has nothing to do with the actual band.

Rule 2: Get a sense of humor about yourself.

Rule 3: Don't bother. You'll never do it as well as "Mamma Mia."

Judging by the rest of the audience, I wasn't the only repeat customer checking out "Mamma Mia." So here's the nitty-gritty for the groupie.

The physical production (sigh) seems to get smaller with every tour (This is C-H-I-C-A-G-O. Why do we have to go to Vegas to see the full set?). But the music is un-messed with. And better yet, this cast is very, very good and superior to the last lot through town.

The test of all Donnas is that power-ballad version of "The Winner Takes It All," and Laurie Wells -- a strikingly warm and empathetic actress -- smacks it out of the park. Carrie Manolakos' Sophie lacks volume and definition early on, but sings and charms beautifully. Sean Allan Krill does his former home proud in the male lead. And the Donna sidekicks (here played by Lisa Mandel and Laura Ware) fire on all cylinders. The pair of 'em is the funniest I've seen.

This show is bankable entertainment -- as in, you can bank on it that everyone still breathing in your group will have some semblance of a good time. Party on.