By AJ Jaffari
There’s something timeless about the music of ABBA—their catchy melodies and heartfelt lyrics have a way of pulling people out of their seats and into a world of pure joy. That’s exactly what happened when I attended Mamma Mia! The energy in the theater was electric before the curtain even rose, and by the end of the night, the audience was clapping along like we were all part of the Greek island wedding ourselves.
For those unfamiliar, Mamma Mia! is the jukebox musical phenomenon that strings together some of ABBA’s biggest hits into a heartwarming (and hilariously chaotic) story about love, identity, and the bonds between mothers and daughters. Since its debut in the late ’90s, it has become a global favorite for a reason—it’s feel-good theater at its finest, and this production certainly knew how to tap into that magic. It’s a refreshing reminder of why some (not all) jukebox musicals can leave me smiling all the way home after the last bows.
And now… onto the review.
Cast: ⭐️⭐️⭐️⭐️ This cast was nothing short of stupendous. An absolute standout for me was Christine Sherrill as Donna Sheridan—her powerhouse belt filled the entire theater, but it was the heart she brought to the role that truly captivated. By the time she launched into the iconic “The Winner Takes It All,” I knew we were in for an emotional gut-punch. The tears Christine shed felt raw and honest—every note resonated.
Two strong contenders who matched Sherrill’s energy and talent were Carly Sakolove and understudy Stephanie Genito. Sakolove not only brought vocal strength, but her comedic timing was impeccable—every punchline landed with charm and laugh-out-loud precision. Genito, stepping in seamlessly, delivered a performance of “Does Your Mother Know” that genuinely surprised me—in the best way. It was one of the most memorable renditions I’ve seen in a long time. These women were born to play these roles. You can’t convince me otherwise.
Also deserving praise were the three actors portraying Sophie’s “fathers”: Rob Marnell (Harry Bright), Jim Newman (Bill Austin), and Victor Wallace (Sam Carmichael). Wallace, in particular, had a voice so commanding I couldn’t help but imagine him as Billy Flynn in Chicago—he’s got that kind of star power.
And while the principals shone, the true heartbeat of this production was its ensemble. For a show as vibrant and high-energy as Mamma Mia!, the ensemble delivered some of the strongest work I’ve seen on tour this past year. The choreography (which I’ll get into later) fit them like a glove—bold, dazzling, and full of spirit. I hope they rest well every night, because their energy was through the roof. A job incredibly well done.
Theater: ⭐️⭐️⭐️⭐️⭐️ Oh, how I love the Orpheum. It’s one of those rare venues that feels both vintage and modern at the same time. Yes, the rows are ridiculously tiny—knees-to-the-back-of-the-seat-in-front-of-you tiny—but even that doesn’t take away from my affection for this space. The orchestra section is massive, and I’ve sat in various spots throughout it and always had a great view. The balcony is also totally doable, with sightlines that still let you take in the full stage experience.
One drawback worth noting: the lobby. It’s not the most spacious, and on busy nights it can feel a bit claustrophobic. If you’re seated in the lower orchestra, give yourself extra time to get in and out—it’s a bit of a bottleneck situation.
As for parking—well, it’s San Francisco. I have my go-to garages (message me if you want recommendations!), but I highly suggest arriving early so you’re not scrambling to park, find your seat, or grab that pre-show snack.
Overall, the Orpheum remains one of my favorite theaters in the Bay Area. It’s a beautiful space that consistently brings in a solid lineup of national tours, thanks to BroadwaySF. Always a treat to return.
Production: ⭐️⭐️⭐️⭐️⭐️ I have to admit, I wasn’t overly excited going into this production. I’ve seen Mamma Mia! in the past and hadn’t been particularly blown away by the story or how everything came together. But this time? I was thoroughly impressed.
Let’s start with the lighting—because you know I always notice the lighting—but this lighting deserved its own standing ovation. And guess what? It got one. Designed by Howard Harrison, the lighting design elevated the entire experience. One of my favorite moments came in Act 2, during the stretch from “Our Last Summer” through “The Winner Takes It All,” where the sunset hues subtly shifted and painted the stage with such emotional depth. Simply beautiful.
The band deserves major credit as well, led by Matthew Croft under the original musical supervision of Martin Koch. From the very first number, I could tell this orchestra understood the heartbeat of ABBA—the dynamic swells, the playful energy, the emotional beats. The balance between power and precision was spot-on.
Production design by Mark Thompson, with scenic coordination by Nancy Thun, brought the Greek island setting to life in a way that felt bright, breezy, and immersive. It was simple yet effective—exactly what this show needs.
And then there’s the choreography. Anthony Van Laast, supported by Janet Rothermel, delivered movement that struck a perfect balance between cohesion and individuality. I loved how the ensemble had synchronized group numbers that dazzled, while still leaving space for performers to show off their unique flair. Every moment was packed with energy, character, and a love for the music.
This production is what big, joyous, feel-good musical theater is all about—an explosion of talent, heart, and rhythm that captures the essence of ABBA and the thrill of live performance. Whether you’re a theater enthusiast or just an ABBA fan, this is a show you don’t want to miss. Catch it while you can—you won’t regret it.
Mamma Mia runs through May 11 and tickets are available here.
Broadway with AJ and Sarah 
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