Nothing new in this Mamma Mia!, and that’s exactly why you love it

The farewell tour of the smash ABBA musical Mamma Mia! is at the Jubilee until Nov. 6.

Before the diehard fans of this jukebox musical start wearing black arm bands, let me assure you this will not be your last chance to see Donna, daughter Sophie and all their friends whip themselves into a frenzy over the appearance of three possible dads at Sophie’s Greek wedding.

This past April, the show marked its 17th year in London and continues to have blockbuster stagings in major cities around the globe including China

You don’t put a cash cow like Mamma Mia! out to pasture.

I confidently predict somewhere in the not too distant future Stage West will mount its own production of Mamma Mia! as will Front Row Centre Players, and there will likely be a touring concert version at the Jack Singer Concert Hall. If Dennis Garnhum were still running Theatre Calgary, he’d be putting together a pulse-pounding version for the Max Bell Theatre.

Let’s face it, Mamma Mia! is the perfect jukebox musical.

It has ABBA’s infectious disco music and a clever little story by British playwright Catherine Johnson that neatly pilfers its plot from the 1968 Gina Lollobrigida movie Buona Sera, Mrs. Campbell and most of its character types from the hit British TV show Absolutely Fabulous.

This is not a criticism, but an observation because it works so well for Benny Andersson and Bjorn Ulvaeus’ music and lyrics.

You’ve seen it all before, which is why you’re returning.

The chorus works tirelessly to bring Anthony Van Laast’s flamboyant choreography to life, and the male chorus members are to be lauded for their version of the “flipper” dance which requires some pretty tricky kicks and turns wearing scuba outfits.

Voulez-Vous, the number that ends the first act, is so downright primal the audience needs a break as much as the cast.

Betsy Padamonsky gives Donna an earthy quality that allows us to believe she was a sexual, political rebel in her youth. She gives us a powerful, heart-wrenching version of The Winner Takes it All and is strong in all her duets, but not so polished in numbers like Dancing Queen that take her out of her vocal comfort range.

As the daughter desperate to know who fathered her, Lizzie Markson gives Sophie a cheeky innocence. There’s no wonder Donna chooses the American Bill Austin (Shai Yammanee) to be her soulmate. Yammanee has the best male voice in the show.

As Donna’s best pals Tanya and Rosie, Cashelle Butler and Sarah Smith never miss an opportunity to play the crass class clowns.

The musical has three curtain call numbers and it would be foolish to miss them because this cast pulls out all the stops, as does the costume designer with those hideously wonderful jump suits Padamonsky, Smith, Butler, Andrew Tebo, Yammanee and Marc Cornes get to wear.