Review: Mamma Mia

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Here we go again!

The company of Mamma Mia

Mamma Mia is back and taking Broadway by storm! The 25th anniversary national tour of the fan-favorite jukebox musical set to the songs of ABBA is making a prolonged stop at the Winter Garden Theatre on Broadway, where it first opened in 2001. Originally conceived by Judy Craymer, Mamma Mia has been a hit across the globe, leading to hundreds of productions worldwide and becoming a blockbuster movie. Having seen this production and most of the same cast back in February in New Orleans, I was thrilled when it was announced that the entire touring company would be staying with the show on Broadway. Now, back in New York through February 1, 2026, this show is a must-see for everyone: longtime fans and those looking for a fun night at the theatre alike!

Leading the company, Donna Sheridan is played by the sensational Christine Sherrill. I was shocked to learn that this is her Broadway debut, because her performance is one of the greatest of the season. Her powerful and emotional voice is perfect for this material. She not only sounds phenomenal, but also brings her emotions to the forefront. Her renditions of “Slipping Through my Fingers” and “The Winner Takes it All,” performed almost back-to-back, are both incredibly emotional numbers, but in completely different ways. Sherrill guides the audience through Donna’s emotional journey, confronting each revelation with clarity and depth, resulting in a performance that lingers long after the curtain falls.

Jalynn Steele, Christine Sherrill, and Carly Sakolove (L-R)

Backing Sherrill up, while very much holding their own, are Jalynn Steele and Carly Sakolove as Tanya and Rosie. Both actresses deliver comedic masterclasses through their lines and physical comedy, earning countless laughs from the audience. In addition, they both have exceptional voices, making their songs highlights of the second act, especially Steele’s performance of “Does Your Mother Know.” She owns every note and step of the number, with her powerhouse vocals and infectious stage presence making it a standout moment of the evening. 

Jim Newman (Bill), Rob Marnell (Harry), and Victor Wallace (Sam), who play Sophie’s three fathers, form a comic trio on the surface, but beneath that humor lies the heart of the show: what true love and family—both biological and chosen—mean. Each has their own quirks, from Newman’s retelling of Bill’s adventure stories, to Marnell’s quirky but heartfelt quips as Harry. However, Wallace’s Sam is the one who captures the audience (and Donna). A part of the final Broadway cast in 2015 and having toured the country, Wallace is no stranger to the role of Sam. It is evident that he understands every nuance of the character, making me feel for Sam in ways I never thought I would before. Combined with his outstanding voice, he delivers one of the standout performances of the evening. 

Mamma Mia at the Winter garden Theatre

 Playing Sophie Sheridan at the performance I attended in New York (December 13), Gray Phillips was great. The role of Sophie is not a terribly interesting one to me, but Phillips sang beautifully, bringing that classic young, innocent tone to their voice. In New Orleans, I did see Amy Weaver, the principal Sophie, and she was fantastic as well. Both performers sang with a clear, youthful tone and delivered what the audience expected, and that is perfectly fine. Again, Sophie is not a character that I care too much about throughout the story, but that does not fall on the shoulders of the performers in the role, and doesn’t detract from the overall quality of the show.

This is a very faithful revival of the original production, under the direction of Phyllida Lloyd. With sets and costumes by Mark Thompson, lighting by Howard Harrison, and sound by Andrew Bruce and Bobby Aitken, nothing disappointed. I have always loved the simplistic whitewashed Greek sets that suggest location just by turning them, but also have tons of tricks and ABBA Easter eggs packed in. The ensemble of this production executes Anthony Van Laast’s choreography with so much enthusiasm that it makes me wonder how they had any energy left to do their second show that evening. It is big, bold, and filled with jumps, not to mention the famous flipper dance, which, for those who are not familiar, involves the male ensemble doing a full routine in wetsuits, snorkel masks, and of course, flippers. 

Mamma Mia

Mamma Mia is one of the most enjoyable and high-energy shows in the circuit, and has become a favorite for regional theatres and high schools alike. It may be the best example of what a jukebox musical should be, as the songs never feel awkwardly placed; instead, they feel as though they were written specifically for the show. While there are a few minor lyric changes to the original songs, they ultimately strengthen the pacing and cohesion of the story—something many jukebox musicals struggle to achieve. By the time the encore rolls around, the entire audience is on their feet, singing and even dancing in the aisles to the music they know and love, a clear demonstration of the show’s enduring power. Mamma Mia may not leave audiences with an emotional reckoning on their way out of the theatre, but that is neither its intention nor its obligation. It fully embraces its campy, joyful spirit, securing its place as an audience favorite for years to come.

4.5/5 stars

2 hours and 30 minutes, one intermission

Winter Garden Theatre

Through February 1, 2026