REVIEW: Mamma Mia - Spotlight Theatre

Here I go again...

Mamma Mia! will always have me by the heartstrings. It was the first musical I ever saw live and the first one I ever performed, so ABBA’s music runs deep in my veins. For me, it’s nostalgia bottled in melody; dancing around the living room to 'Super Trouper', belting 'Knowing Me, Knowing You' like I’d lived through three divorces, and gawking at Agnetha and Frida's ridiculous choreography and costumes. So walking into Spotlight Theatre’s Mamma Mia! felt like diving headfirst into a sun-soaked memory of yesteryear. Under the direction of Jamie Watt, with musical direction by Peter Laughton and assistant direction by Shari Willner, this production overflowed with colour, laughter, and affection for the music that shaped generations.

While preparing for her wedding to Sky (Jake Cropley), young Sophie (Alannah Eyerich) makes a startling discovery: her mother Donna (Jessica Papst) once had three lovers — Sam (Andy Macfarlane), Harry (Jonathan Whitlow) and Bill (Sean Curran) — any of whom could be her father. So naturally, Sophie invites them all to her Greek island wedding in the hope of solving the mystery before she says “I do.” What follows is a dramatic mix of hilarity and heartfelt moments, all stitched together by ABBA’s timeless hits.

I love that Spotlight keeps their set visible from the start. We were dropped straight into Donna’s taverna under a canopy of twinkling stars, with Sky quietly strumming his guitar (or trying to, over the excited chatter of the audience!) The set, designed by Jamie Watt and Andrew Kassab, was a total postcard moment plucked straight from the Greek isles: Whitewashed walls, bursts of bougainvillea, and bright blue shutters straight out of Santorini that framed a two-level hotel, connected by a bridge that overlooked the “ocean” below. Every detail felt considered and alive. The lighting design by Jamie Watt, LJ Jones, Ariana Sinner, and Thomas Bell dazzled from the overture, washing the stage in shifting colours that pulsed perfectly with the music and remained consistently stunning throughout the show (with plenty of dazzling cameos from the disco ball!)

Jessica Papst was magnetic as Donna, capturing her stubborn streak, free-spirited independence, and vulnerability all at once. Her powerhouse vocals could have lifted the roof in 'The Winner Takes It All,' and her first big number, 'Mamma Mia', perfectly captured Donna’s chaos, complete with the most magnificently unhinged crazy eyes! Papst balanced comedy and heart with ease, revealing a woman both worn down and wildly alive.

Alannah Eyerich was a radiant Sophie, matching Donna’s energy every step of the way. Her glorious belt was front and centre all night, used often and to great effect. After powering through a five-song marathon in Act 1, her voice understandably began to tire by 'Name of the Game', but honestly, I found myself loving her softer moments much more. When she let her tender voice take over in 'I Have a Dream', it was gentle, luminous, and the perfect way to close the show. Jake Cropley fit the role of Sky beautifully. Youthful, carefree, and quietly caring, with a voice that was far stronger than I expected (and one I wish we could have heard more of, but alas, that’s the “princess track” life). He shone in 'Lay All Your Love on Me', both vocally and physically, bringing real passion and playful chemistry to his scenes with Sophie.

The three dads were ideally cast for their contrasting energies. Andy Macfarlane’s Sam brought a steady, grounded presence, his duet with Donna in 'S.O.S.' bubbling with years of unspoken words. Jonathan Whitlow’s Harry was warm, earnest, and delightfully dorky, especially during 'Our Last Summer'; one of the show’s sweetest moments. And Sean Curran’s Bill was a total scene-stealer: playful, cheeky, and just the right amount of rogue. His comic instincts brought fresh life to a familiar role and his chemistry with Rosie in 'Take a Chance on Me' was everything that number should be: wild, naughty, flirty. Together, the three dads shone in 'Thank You for the Music', a scene that perfectly captured the heart of the show.

The Dynamo trio of Donna, Tanya, and Rosie were every bit as dynamic as the boys! Jacy Lewis’s Tanya glided through each scene with a cocktail in hand and a perfectly arched eyebrow, oozing effortless glamour and wit. Melissa Dorge’s Rosie was a comic firecracker and just as confident as Tanya. The crocs, the wig, the bikini t-shirt, the sun-visor.... I'm obsessed. Together, their tag-team antics with Donna in 'Chiquitita' and 'Dancing Queen' were brilliant. Their chemistry was that of sisterhood, sequins, and slapstick all rolled into one.

Andrew Kassab made a brilliant Pepper, the island flirt with no off switch, strutting about with cocky swagger, while Clay English’s Eddie kept pace beside him, firing off witty one-liners with perfect timing. They were a hilarious duo, bouncing off each other's energy, especially as Pepper shamelessly (and unsuccessfully) tries to win Tanya's attention. Meanwhile, Sophie’s bridesmaids — Alana Schokman as Ali and Brianna Lane as Lisa — captured the jittery joy of being twenty years old. Their hyper energy in 'Honey Honey' and their friendship with Sophie in the opening scenes seemed highly natural.

The choreography by Jamie Watt was bold, precise, and bursting with life. 'Money, Money, Money' allowed the ensemble to burst forth from every corner of the stage, setting the pace for a production that never stood still (except for the literal tableau during 'Mamma Mia'). By 'Voulez-Vous', the ensemble’s stamina and precision were on full display, while the leads handled the notoriously tricky dialogue-versus-track timing well. The ensemble harmonies were ever-present, enriching the sound even when they weren’t visible. The microphones were clear against the backing tracks and the timing tight from start to finish. Only in 'One of Us' did Jessica Papst’s falsetto momentarily lose its battle with the backing choir.

The big production numbers came thick and fast: the wetsuit-and-swim-cap hilarity of 'Lay All Your Love on Me' (complete with bubbles!), the exhaustingly vigorous dance-off in 'Does Your Mother Know', and the Dynamos’ metallic jumpsuits and bedazzled microphones for 'Super Trouper'. Sharp, robotic choreography gave way to the sultry, disco-ball dazzle of 'Gimme! Gimme! Gimme!' as the girls rocked their sparkly party outfits. Honestly, I hope my own hens night looks exactly like that (minus the three potential fathers...). 'Under Attack' (aka “Attack of the Zombie Brides”) was a deliriously fun fever dream of choreography, lighting, and costuming ingenuity.

Jamie Watt’s direction made clever use of every corner of the two-level set, layering moments so they felt cinematic while keeping the pace breezy. His staging captured the bustle of a Greek island without feeling crowded. Costumes by Pina Crisafulli Omeros, Millie Talbot, and Nada Kulic struck the perfect chord between realism and spectacle, from Tanya’s chic, high-fashion flair to the ensemble’s vibrant beachwear and the Dynamos’ glittering retro jumpsuits.

Every element reflected care, collaboration, and creativity, and it was clear the entire company poured love into this production. Sold out for the season (and with good reason), Spotlight’s Mamma Mia! delivered everything audiences could hope for: talent, camp, sentimentality in all the right places, and completely committed to the fun. The opening-night crowd was rowdy, laughing through every gag and cheering like it truly was an ABBA reunion concert.

In a world that could use a little more joy, this glitter-splashed Greek holiday was pure escapism. Well done to the entire team for a brilliant season, and hope you were successful in keeping audiences from singing along (because if you’ve ever done this show yourself, you know just how hard that rule is to follow!)

Photography by Vargo Studios