08/10/2026
On our way to see thos iconic show in nottingham
Mamma Mia!
National Tour 2026
Royal Concert Hall, Nottingham
September 29th, 2026
It is over a quarter of a century since Mamma Mia! first took the West End by storm. However, there is still something very infectious about its fantastic blend of ABBA classics, witty comedy, and pure musical theatre.
The story is quite straightforward. Out on an idyllic Greek island, Sophie Sheridan is preparing to marry Sky. But before she walks down the aisle, there’s one vital mystery left to solve: who is her father? Having secretly read through her mother Donna's old diary, Sophie sends wedding invites to three likely candidates, hoping she'll instinctively know her dad the second he arrives. Of course, things don't work out according to plan.
What really makes the show tick beneath all the vibrant colour and hit tunes is a genuine, warm-hearted story. Fundamentally, it's about mothers and daughters, lifelong friendships, getting older, and coming to terms with the fact that life rarely follows the plans we have for it.
Leading this excellent cast is Jenn Griffin as Donna Sheridan, and Hazel Baldwin as Sophie. Donna is a dream role, but it takes far more than just a big voice to make it work. The character demands real grit, vulnerability, and sharp comic timing. Jenn delivers on all fronts, and her believable mother-daughter connection with Sophie forms the centre of the production. Hazel herself gives a super performance as Sophie, effortlessly capturing her youthful optimism and warmth. Her clear, captivating vocals shine in numbers like "I Have a Dream," while her scenes with Donna and the three potential fathers are full of real emotion.
Donna’s old friends Tanya and Rosie are brought to life with great comedic touch by Sarah Earnshaw and Lauren Woolf.
Meanwhile, the trio of potential fathers, Richard Taylor Woods as Sam Carmichael, Simon Victor as Bill Austin, and Arvid Larsen as Harry Bright bring plenty of charm to the stage.
Samuel Downey offers solid support as Sky, having a great voice, strong dancing skills, and a cheeky smile.
There is also fantastic support right across the cast from Ashton Sharp (Pepper), Albert Green (Eddie), Rachel Seiran (Ali), Lex Richardson (Lisa), and Richard Vorster (Father Alexander). All sing and dance with aplomb.
The dynamic ensemble, playing a variety of roles throughout are
Brook Blackford-Jenkins, Rubi-Mai Bown, James Brice, Aled Davies, Ryan Ebbrell, Georgia Gillam, Marisa Harris, Jay Jobarteh, Bethany Lythgoe, Sullivan Martin, Sarah McFarlane, Rachel Oates, Megan Speirs, Adam Stickler, Luke Stone, Richard Vorster, and Maisy Wignall. (The cast can change).
At the heart of this excellent production is Phyllida Lloyd, whose sharp, spirited direction ensures the show maintains its perfect balance of high-energy comedy and genuine feeling.
She is backed by a great creative team that keeps every element running seamlessly. Martin Koch provides expert musical supervision and arrangements, bringing fresh life to ABBA's iconic score, while Anthony Van Laast’s lively, infectious choreography keeps the stage bursting with movement.
Visually, Mark Thompson’s set and costume designs instantly transport the audience to the Greek islands. The show is beautifully lit by Howard Harrison’s warm lighting design and supported by Andrew Bruce and Bobby Aitken’s sound. I did just feel that at times the bands volume was just a little too high through the amplification system however in the main the balance with the singers was fine.
Together, Lloyd and her team deliver a polished piece of musical theatre that, despite its age, feels as fresh and joyous as ever.
The brilliance of the show lies in how seamlessly Benny Andersson and Björn Ulvaeus’s music is woven into Catherine Johnson’s book. Songs we’ve all heard a thousand times suddenly take on fresh dramatic importance within the narrative, while at other times the production throws off all restraint and lets the audience revel in one of the greatest pop catalogues ever written. It is worth noting that the musical came first and was only later followed by the film, and the two aren't completely the same.
What ultimately makes Mamma Mia! such an enduring show isn't just the ABBA back catalogue. It never asks the audience to sit back and observe from a distance; it invites everyone to join in with the fun. The show has a fabulous finale that gets the audience up on their feet right from the start.
Joyful, witty, genuinely touching and entirely unashamed Mamma Mia! proves yet again that often the best night out at the theatre often comes down to one thing: sending the audience home happier than when they arrived. On that front, Mamma Mia! delivers absolutely.
Personally, I loved every minute of it and would like to see it again before it ends its run at the Royal Concert Hall on October 10th.
