By Liz Eichler
Few musicals inspire the kind of loyal following that Mamma Mia! does—and for good reason. Built on the music of ABBA and buoyed by pure, infectious joy, it’s a show audiences return to again and again. That sense of celebration makes it a fitting final musical for Ken Jones, Rosenthal Distinguished Professor and founder of NKU’s School of the Arts, retiring at the end of the school year. Featuring music and lyrics by Benny Andersson and Björn Ulvaeus, with a book by Catherine Johnson, the show first landed on Broadway in 2001. It is a feel-good musical, allowing the audience to escape to a Greek island—and, perhaps, to our youth. And at the curtain call, you are encouraged to dance along.
This production feels like a celebration.
The Story
At its core, Mamma Mia! is a story about a mother and daughter—about love in its many forms: maternal, romantic, enduring, and evolving. Set on a sun-drenched Greek island, it offers both escape and recognition, pairing high-energy dance numbers with quieter moments that land squarely in the heart. For many—especially mothers—there are moments that sneak up and hit unexpectedly, particularly in the lead-up to Sophie’s wedding.
For those new to the story: Sophie, preparing for her wedding, secretly invites three men from her mother Donna’s past in hopes of discovering which is her father. What follows is a joyful unraveling of past relationships, rekindled friendships, and a young woman ultimately redefining what she needs for her future.
Originally slated for NKU’s 2020 season before its pandemic cancellation, Mamma Mia! finally makes its way to the stage as part of Jones’ final season—a full-circle moment that feels earned. Under his direction, with musical direction by Jacob Priddy and producing artistic direction by Jamie Strawn, the production leans into movement and energy. Priddy noted Jones’ desire for a “dancier Mamma Mia!,” and that vision is fully realized through vibrant, ensemble-driven choreography from a team of alumni and student choreographers. They are: Roderick Justice, Maddy Jones, Rachel Perin Curlee, Sara Raumaker, Janette Bruce, Marlo D’Ascenzo and Emma Hackworth.
Performances
The performances are consistently strong–even evoking goosebumps or tears–or both. Grace Owen brings warmth and dimension to Sophie, grounding her youthful uncertainty with a sense of independence and confidence. Her performance captures both the impulsiveness, warmth, and growth of the character. She has strong acting instincts. In winks to her friends, and preening in the mirror–we see her. Her friends Ali (Emma Hackworth) and Lisa (Clara Cundick) support her throughout.
As Sky, Zach Petrie provides a solid counterpart, navigating the character’s missteps with sincerity. His friends Caleb Lindsey (Pepper) and Isaiah Burton (Eddie) create a wacky duo.
Mabrey Rice’s Donna is particularly impressive, anchoring the show with stamina and emotional depth. Her performance builds beautifully through the evening, balancing strength and vulnerability while carrying some of the production’s most demanding musical moments.
Among the supporting performances, Emily Lamping as Tanya and Alexa Morelle as Rosie, Donna’s former bandmates, stand out for their sharp comedic timing, vocal strength, and physical command. Both demonstrate an ease across a wide age range, with a confidence that suggests exciting futures ahead.
The trio of potential fathers each bring distinct strengths: Boddy Miller’s Sam offers grounded sincerity and strong vocals; Luc Vandenbroek’s Harry delivers physical comedy with precision; and Jathan “JB” Briscoe’s Bill adds both comedy and charisma.
Special notice to freshman Dylan Maynard and Arrabella Morgan, who deliver a moving ballet while Donna sings “Winner Takes it All.” Finally, kudos to the men in the ensemble who deliver one of the more memorable bits in “Lay All Your Love on Me,” when Maddie Jones’ choreography includes flippers.
Creative Team
From a design standpoint, the production shows thoughtful cohesion. The costume design (Ronnie Chamberlain) maintains a tight color palette—resort whites and blues for principals, with soft complementary tones for the ensemble—creating a clean, sun-washed aesthetic. The Dynamos’ costumes offer a fun stylistic shift, embracing bold blues and metallics while maintaining the iconic silhouettes.
The set (Eric Barker), anchored by a taverna and dock, creates an inviting playing space, enhanced by detailed touches that help transport the audience. From the front row, small elements—like carefully placed seashells—add texture and intention. The distressed blue shutters evoke years of sun and sea.
There are moments where the technical elements are still finding their footing. The lighting (Jo Sanburg) while bright and clear for the most part, could benefit from more environmental motivation—practical sources like sconces or string lights would add warmth and depth, particularly in evening scenes. There are also attempts at rock concert-style lighting, though they are not fully realized. Some sound balance issues were noticeable but improved in Act Two, reflecting the realities of a training environment actively refining its work.
Overall
Mamma Mia! is well on its way to a sell out, a testament not only to the show’s popularity but to the strength of NKU’s program. The continued growth of the department is evident both onstage and off, with a seamless audience experience that reflects a strong supporting team behind the scenes, including signage for parking.
In the end, this production does exactly what Mamma Mia! is meant to do: it celebrates connection, invites joy, and sends audiences out of the theatre a little lighter than they came in, with a few ABBA earworms.
Tickets
NKU SOTA’s Mamma Mia! runs through April 19 in the Corbett Theatre at Northern Kentucky University. Find more information and ticket links HERE.
