The amazing energy of Mamma Mia!
July 23, 2004 | 12:00am
Okay people, get a little closer together," calls out Gary Young, associate director of the Australian company of Mamma Mia!, squinting his eyes at the cast members. There are about 25 people on stage, in strikingly colorful costumes and big smiles, gathering around the center stage and getting ready to pose for pictures. The Asian media, scattered all over the Grand Theatre of the Hong Kong Cultural Centre, clutch their cameras and eagerly squint in the viewfinders. As Gary directs the cast into their respective positions, they laugh and excitedly chatter with each other. Everyone else knows it’s going to be a great shot of the cast and production team.
"All right, hold it everyone, that’s perfect!" Gary grins and then hurries up the stage to join the rest. "Okay!" he announces when he arrives. "Big Mamma Mia! smiles! One, two –."
"Mamma Mia!" the cast roars as they fly (pose?) into action. Hands fly flamboyantly in the air, eyes and polyester suits sparkle, and faces beam as a multitude of cameras flashed, hoping to capture the amazing energy emanating from the cast. Minutes ago, the members of the press had been enthralled by their wonderful performance of scenes from the musical for the media call: Money, Money, Money, Thank You For The Music, Mamma Mia, and Dancing Queen. And now that we were taking their pictures, we are amazed at how lively they still seem, frozen in their poses. Their energy is infectious. As we click away, we begin humming ABBA songs, tapping our feet, and smiling at each other.
Apparently, the same thing happens every night during the finale of Mamma Mia! Eleven productions currently playing around the world, and after all the shows, the audience is on its feet, clapping and dancing. But for everyone from Mamma Mia!, every finale is a pleasant surprise, especially in Hong Kong. "I think the fantastic thing about last night was the final scene, before we go into the curtain call," shares John Roberston, executive producer, about the premiere performance of the company in Hong Kong. "Actually, the entire floor almost all stood at once. They stayed standing until right the end of the show, clapping and having a fantastic time singing along."
The rest of the cast agree. "It was an extraordinary reaction, more unexpected," says Christopher Parker, who plays Sky. "In other countries, you hear bursts of laughter in the middle of the play and you kind of expect it already, but here it was just a little bit quiet, so we weren’t sure. We were caught off-guard!"
"Mamma Mia! is just one of the celebrations of ABBA’s 30 years," declares John, and he’s right. The musical is based on original ABBA songs, and moreover, the original ABBA sound. Until today, you can still hear songs like Dancing Queen and The Winner Takes It All in birthday parties and karaoke bars. "The thing that always amazes me about ABBA is that they have nice pop tunes which you can tap and sing along to but the lyrics are quite often very profound," says Bruce Roberts, who plays Sam in the play. "I think that’s why the show really works because the songs really match what’s happening in the story. Whereas there are other people who have attempted to do this style of music but haven’t come quite close because the songs aren’t profound." It was producer Judy Cramer’s terrific stroke of genius to create a musical with a fresh and contemporary story based on ABBA’s universal and popular music. Writer Catherine Johnson’s mother-daughter story was a success because just like ABBA music, it was a story that everyone could relate to.
In the play, Sophie (played by Kellie Rode) invites three of her mother Donna’s (played by Silvie Paladino) past boyfriends to her wedding because one of them might be her father. Although not everyone in the audience will relate to missing a father, there’s a facet of the story for everyone. Mothers and daughters will choke up in Slipping Through My Fingers, as Donna helps Sophie get ready for the wedding. Couples will smile impishly at the young lovers while singing Lay All Your Love On Me. Friends will want to get together again when they see Donna and her best friends Rosie and Tanya (played by Emma Powell and Jennifer Vuletic, respectively) singing to Dancing Queen. Older people will reminisce along with Donna and Harry reliving their last hurrahs in Our Last Summer. At the same time, you’ll be enjoying the good old ABBA music. You will never get bored watching the musical.
Mamma Mia! captures all your senses with the fabulous set, the vibrant lighting, the powerful sound, the gorgeous costumes, but what draws you in is the energy of the performers. "It’s more than just a helicopter or a chandelier," says Darren Yap, the resident director, as he leads the Asian media into the backstage for a tour. "I think that’s the nature of the success of the show. You can get carried away with the energy of the people and not go, ‘Wow, look, amazing lights or set.’" And it’s true. There are about 61 people touring with the show, and all of them have their own roles to play to make sure it is a success. "In front it’s beautiful and glamorous, but backstage it’s very unglamorous. It’s a workplace," Darren says. Even the 26 performers on stage do more than just play out the scene. Mamma Mia! is an actor-driven play, which means the performers themselves are the ones carrying props and such. "I love that this show is so active. You saw the actors bringing in beds and chunks and chairs. It’s very much about the person bringing the set onboard. Unlike Miss Saigon which as you know is completely automated and all that, this is very manual." Darren points out the different props laid out according to which one has to be brought to the stage first. "It’s systemized in a certain order, depending on the scene that goes first." The only things that are actually automated in the set are the taverna walls and the wooden path, which move around in the show by computer and hyrdraulics. The entire set took about five months to build, and everything (including props and costumes) was shipped in from Australia.
Even when they’re not on stage, all the performers are still hard at work. Darren leads us to four small booths at the backstage, where members of the ensemble go to sing back-up vocals. "The ensemble is either changing their costumes or getting into these four booths like a recording studio. So while they’re off-stage, they’re singing too. Everyone’s got headsets, monitors, it’s all tightly choreographed, and they’re literally running backwards and forwards because that’s the ABBA sound, the smooth backing vocal quality, like the Carpenters, a very important part of the show." During the actual show, the effect really is great. You hear very solid and rich vocals, which add to the vibrancy of the music.
From the sound booths, we head for the quick-change area, where we gape at the costumes, especially the neon polyester jumpsuits and silver platform boots. Aside from the shocking ’70s apparel, the rest of the costumes are normal, everyday clothes, since Mamma Mia! is a contemporary show. Every character has his or her own closet, packed with clothes, wigs, hats, shoes and duplicates in case something gets broken or the understudy has to take over. There are always about six swings on standby in case someone gets injured in the middle of the show.
Whatever happens, the show must go on, and that’s why it’s important that the production team keep in contact with everyone else. Mary Benn, the stage manager, communicates with the actors, lighting, and orchestra, to make sure everything’s running smoothly and that the audience has the time of its life. Each performer has a tiny microphone in hair and the technicians are also connected to Mary so they’ll know their cues. "Each (performer) has a microphone, and you can see their names here," Darren explains as he points to the soundboard. "You can boost her up or bring her down. It’s all computerized." He continues and shows us the monitors. "There’s a view of the audience, the conductor, the stage, and aerial shot for safety so you know what’s going up and down."
All these people work thoroughly and together to produce the incredible musical, and they hardly get tired of their jobs. "Two thousand people in the audience are different each time," says John O’May, who plays Harry Bright, head banger-turned-banker and one of Sophie’s possible dads. "Your job is to make it brand new every night."
True to form, the company makes a fresh and fabulous performance every time. What’s the secret of this smash hit? "I think it’s the power of Abba," muses Jenny, who plays the sexy Dynamo. "I think the show’s brilliantly constructed. It has people’s love of romance, human folly and the way in which we fall in and fall out of love. And there’s a big celebration at the center of it. But I think the power of the music is undeniable." Of course, the cast members have fallen in love with ABBA music, although most of them were never fans. Their reactions, however, were still mixed when it comes to the polyester jumpsuits they have to wear. "We still hate them!" exclaims Jenny and Silvie. Emma (who appropriately plays the wackier Dynamo) however, has grown used to it, and so has Bruce. "I’d like to get a shot of it and put it on my next Christmas card," he laughs.
Even off the stage, the entire cast is still so animated. They talk about sharing dressing rooms, going shopping together in Hong Kong, seeing the sights. Darren also narrates that they have a unique soundcheck. "Instead of ‘testing one, two, three,’ they think of a theme, like love songs, and they try to come up with love songs to sing." The performers fit their roles well that it seems so natural to remain in character during interviews. I asked the three dads who they thought the father of Sophie really was, and Peter Hardy, who plays commitment-phobic Bill Austin, replied jokingly, "The night that I was with Donna, I don’t really remember, because I had a couple of drinks so it’s all a surprise to me." Bruce nods in assent as he says, "It’s all a surprise to all of us!" Peter looks at Bruce and tells me, "But I’m very pleased that it might be him!"
In the end, it doesn’t matter if you find out who Sophie’s real father is. You’ll be on your feet, clapping and partying with the ensemble on stage. For the entire team behind MAMMA MIA!, it’s a privilege to be producing and performing this fantastic musical. "At the end of the show," says Jenny, "You see people beaming back at you and there’s no greater gift than that."
Be one of the people beaming back at the cast of Mamma Mia! in Hong Kong. The experience will be worth the trip. Tickets are priced from HK$250 to HK$750 and available at all Urbtix outlets. You can also check www.urbtix.gov.hk for packages, student prices, and other information.
I would like to thank Marge San Jose and Kate Zapanta of Perceptions Inc., and Rhoda Capuno of Cathay Pacific for such a great time.
"All right, hold it everyone, that’s perfect!" Gary grins and then hurries up the stage to join the rest. "Okay!" he announces when he arrives. "Big Mamma Mia! smiles! One, two –."
"Mamma Mia!" the cast roars as they fly (pose?) into action. Hands fly flamboyantly in the air, eyes and polyester suits sparkle, and faces beam as a multitude of cameras flashed, hoping to capture the amazing energy emanating from the cast. Minutes ago, the members of the press had been enthralled by their wonderful performance of scenes from the musical for the media call: Money, Money, Money, Thank You For The Music, Mamma Mia, and Dancing Queen. And now that we were taking their pictures, we are amazed at how lively they still seem, frozen in their poses. Their energy is infectious. As we click away, we begin humming ABBA songs, tapping our feet, and smiling at each other.
Apparently, the same thing happens every night during the finale of Mamma Mia! Eleven productions currently playing around the world, and after all the shows, the audience is on its feet, clapping and dancing. But for everyone from Mamma Mia!, every finale is a pleasant surprise, especially in Hong Kong. "I think the fantastic thing about last night was the final scene, before we go into the curtain call," shares John Roberston, executive producer, about the premiere performance of the company in Hong Kong. "Actually, the entire floor almost all stood at once. They stayed standing until right the end of the show, clapping and having a fantastic time singing along."
The rest of the cast agree. "It was an extraordinary reaction, more unexpected," says Christopher Parker, who plays Sky. "In other countries, you hear bursts of laughter in the middle of the play and you kind of expect it already, but here it was just a little bit quiet, so we weren’t sure. We were caught off-guard!"
"Mamma Mia! is just one of the celebrations of ABBA’s 30 years," declares John, and he’s right. The musical is based on original ABBA songs, and moreover, the original ABBA sound. Until today, you can still hear songs like Dancing Queen and The Winner Takes It All in birthday parties and karaoke bars. "The thing that always amazes me about ABBA is that they have nice pop tunes which you can tap and sing along to but the lyrics are quite often very profound," says Bruce Roberts, who plays Sam in the play. "I think that’s why the show really works because the songs really match what’s happening in the story. Whereas there are other people who have attempted to do this style of music but haven’t come quite close because the songs aren’t profound." It was producer Judy Cramer’s terrific stroke of genius to create a musical with a fresh and contemporary story based on ABBA’s universal and popular music. Writer Catherine Johnson’s mother-daughter story was a success because just like ABBA music, it was a story that everyone could relate to.
In the play, Sophie (played by Kellie Rode) invites three of her mother Donna’s (played by Silvie Paladino) past boyfriends to her wedding because one of them might be her father. Although not everyone in the audience will relate to missing a father, there’s a facet of the story for everyone. Mothers and daughters will choke up in Slipping Through My Fingers, as Donna helps Sophie get ready for the wedding. Couples will smile impishly at the young lovers while singing Lay All Your Love On Me. Friends will want to get together again when they see Donna and her best friends Rosie and Tanya (played by Emma Powell and Jennifer Vuletic, respectively) singing to Dancing Queen. Older people will reminisce along with Donna and Harry reliving their last hurrahs in Our Last Summer. At the same time, you’ll be enjoying the good old ABBA music. You will never get bored watching the musical.
Mamma Mia! captures all your senses with the fabulous set, the vibrant lighting, the powerful sound, the gorgeous costumes, but what draws you in is the energy of the performers. "It’s more than just a helicopter or a chandelier," says Darren Yap, the resident director, as he leads the Asian media into the backstage for a tour. "I think that’s the nature of the success of the show. You can get carried away with the energy of the people and not go, ‘Wow, look, amazing lights or set.’" And it’s true. There are about 61 people touring with the show, and all of them have their own roles to play to make sure it is a success. "In front it’s beautiful and glamorous, but backstage it’s very unglamorous. It’s a workplace," Darren says. Even the 26 performers on stage do more than just play out the scene. Mamma Mia! is an actor-driven play, which means the performers themselves are the ones carrying props and such. "I love that this show is so active. You saw the actors bringing in beds and chunks and chairs. It’s very much about the person bringing the set onboard. Unlike Miss Saigon which as you know is completely automated and all that, this is very manual." Darren points out the different props laid out according to which one has to be brought to the stage first. "It’s systemized in a certain order, depending on the scene that goes first." The only things that are actually automated in the set are the taverna walls and the wooden path, which move around in the show by computer and hyrdraulics. The entire set took about five months to build, and everything (including props and costumes) was shipped in from Australia.
Even when they’re not on stage, all the performers are still hard at work. Darren leads us to four small booths at the backstage, where members of the ensemble go to sing back-up vocals. "The ensemble is either changing their costumes or getting into these four booths like a recording studio. So while they’re off-stage, they’re singing too. Everyone’s got headsets, monitors, it’s all tightly choreographed, and they’re literally running backwards and forwards because that’s the ABBA sound, the smooth backing vocal quality, like the Carpenters, a very important part of the show." During the actual show, the effect really is great. You hear very solid and rich vocals, which add to the vibrancy of the music.
From the sound booths, we head for the quick-change area, where we gape at the costumes, especially the neon polyester jumpsuits and silver platform boots. Aside from the shocking ’70s apparel, the rest of the costumes are normal, everyday clothes, since Mamma Mia! is a contemporary show. Every character has his or her own closet, packed with clothes, wigs, hats, shoes and duplicates in case something gets broken or the understudy has to take over. There are always about six swings on standby in case someone gets injured in the middle of the show.
Whatever happens, the show must go on, and that’s why it’s important that the production team keep in contact with everyone else. Mary Benn, the stage manager, communicates with the actors, lighting, and orchestra, to make sure everything’s running smoothly and that the audience has the time of its life. Each performer has a tiny microphone in hair and the technicians are also connected to Mary so they’ll know their cues. "Each (performer) has a microphone, and you can see their names here," Darren explains as he points to the soundboard. "You can boost her up or bring her down. It’s all computerized." He continues and shows us the monitors. "There’s a view of the audience, the conductor, the stage, and aerial shot for safety so you know what’s going up and down."
All these people work thoroughly and together to produce the incredible musical, and they hardly get tired of their jobs. "Two thousand people in the audience are different each time," says John O’May, who plays Harry Bright, head banger-turned-banker and one of Sophie’s possible dads. "Your job is to make it brand new every night."
True to form, the company makes a fresh and fabulous performance every time. What’s the secret of this smash hit? "I think it’s the power of Abba," muses Jenny, who plays the sexy Dynamo. "I think the show’s brilliantly constructed. It has people’s love of romance, human folly and the way in which we fall in and fall out of love. And there’s a big celebration at the center of it. But I think the power of the music is undeniable." Of course, the cast members have fallen in love with ABBA music, although most of them were never fans. Their reactions, however, were still mixed when it comes to the polyester jumpsuits they have to wear. "We still hate them!" exclaims Jenny and Silvie. Emma (who appropriately plays the wackier Dynamo) however, has grown used to it, and so has Bruce. "I’d like to get a shot of it and put it on my next Christmas card," he laughs.
Even off the stage, the entire cast is still so animated. They talk about sharing dressing rooms, going shopping together in Hong Kong, seeing the sights. Darren also narrates that they have a unique soundcheck. "Instead of ‘testing one, two, three,’ they think of a theme, like love songs, and they try to come up with love songs to sing." The performers fit their roles well that it seems so natural to remain in character during interviews. I asked the three dads who they thought the father of Sophie really was, and Peter Hardy, who plays commitment-phobic Bill Austin, replied jokingly, "The night that I was with Donna, I don’t really remember, because I had a couple of drinks so it’s all a surprise to me." Bruce nods in assent as he says, "It’s all a surprise to all of us!" Peter looks at Bruce and tells me, "But I’m very pleased that it might be him!"
In the end, it doesn’t matter if you find out who Sophie’s real father is. You’ll be on your feet, clapping and partying with the ensemble on stage. For the entire team behind MAMMA MIA!, it’s a privilege to be producing and performing this fantastic musical. "At the end of the show," says Jenny, "You see people beaming back at you and there’s no greater gift than that."
Be one of the people beaming back at the cast of Mamma Mia! in Hong Kong. The experience will be worth the trip. Tickets are priced from HK$250 to HK$750 and available at all Urbtix outlets. You can also check www.urbtix.gov.hk for packages, student prices, and other information.
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