Mamma Mia! presented by TCS – Your Invitation to a Big Phat Greek Wedding
- thesneeview
- Jan 16
- 4 min read
Updated: Jan 16
The Townsville Choral Society’s production of Mamma Mia!, directed by Lindsay Nobile, bursts onto the stage with all the sunshine, sparkle and sheer joy that audiences crave from this ABBAsolutely beloved musical (sorry, not sorry!) Set on the fictional Greek island of Kalokairi, the show radiates warmth from the moment the lights go up, transporting the audience to a world of whitewashed walls, turquoise waters and the promise of a wedding that may—or may not—go according to plan. It’s the kind of production that makes you long for a cocktail on a sun‑drenched beach, and TCS leans into that escapism beautifully.
Choosing Mamma Mia! was a savvy move for TCS. This is a brilliant jukebox musical with a built‑in fanbase, a soundtrack that spans generations, and a story that balances humour, heart and nostalgia. Opening night proved just how much the community loves it: a full house, buzzing energy, and an audience ready to embrace every ABBA hit thrown their way. And with this cast and creative team, they were in very safe hands.
At the centre of the story is Donna, played with emotional depth and vocal power by Melissa Donges‑Curro. Donna is a woman juggling the chaos of running a taverna, preparing for her daughter’s wedding, and confronting the ghosts of her past (or the fruits of her promiscuity), all while trying to keep her heart intact. Donges‑Curro captures every shade of Donna’s journey, from her comedic exasperation to her quieter moments of vulnerability. Her performance of The Winner Takes It All is a standout: controlled, heartfelt and delivered with a clarity that sent shivers through the room. The added harmonies from the ensemble backstage elevated the moment even further, creating a wall of sound that wrapped around the audience, leaving a trail of goosebumps up my arms. The audience response was palpable.
Opposite her is Jakaya Drysdale as Sophie, the bride‑to‑be whose quest to uncover the identity of her father sets the entire plot in motion. Drysdale brings a bright, earnest energy to the role, balancing Sophie’s optimism with the emotional turmoil of her secret mission to quell her Daddy issues. Her chemistry with Donges‑Curro feels authentic, grounding the mother‑daughter relationship that sits at the heart of the show. Declan Keyes‑West as Sky, Sophie’s fiancé, adds charm and warmth, creating a believable partnership that anchors the younger storyline.
The supporting cast is stacked with talent, each performer adding colour and comedy to the narrative. Sandra Neal as Rosie and Jodie Bell as Tanya are a riot as Donna’s lifelong friends and former bandmates. Neal’s dry wit and adventurous spirit pair perfectly with Bell’s razor‑sharp comedic timing—her facial expressions alone earned waves of laughter. Together, the Dynamos bring a delightful chaos that keeps Donna grounded even as her world begins to unravel.
The trio of potential dads (Luke Reynolds, Glenn McCarthy and Nick Christie) deliver performances full of heart, humour and just the right amount of awkwardness. Each actor brings a distinct flavour to their character, making it easy to see why Donna once fell for all three. Their interactions with Sophie are tender and funny, and their dynamic with Donna adds emotional weight to the unfolding mystery.
One of the evening’s biggest laugh‑out‑loud moments comes courtesy of a scene involving a group of men in flippers bounding across the stage. The physical comedy is impeccable, and the cast’s ability to navigate the hazards of flippers, and later, some impressively high heels when we are transported to the hen’s night, deserves applause. Neal, in particular, milks every comedic beat, turning potential chaos into controlled hilarity.
Act II opens with one of the production’s most visually striking sequences: Sophie’s nightmare, set to Under Attack. The staging is dreamlike and eerie, with spectral ensemble members swirling around her in a haze of movement and light. The choreography by Katie Grice is sharp, inventive and perfectly suited to the moment, while the set design led by Chris Nobile enhances the surreal atmosphere.
The entire production team, managed by Ryan Mills, deserves recognition for crafting a world that feels both whimsical and grounded, and presenting a stunning cast who look at home in their surroundings. Costume designer Jenni Ansic and her team deliver outfits that capture the Mediterranean vibe while saving some of the most dazzling looks for the finale.
Of course, the music is the heartbeat of Mamma Mia!, and TCS does not disappoint. To vocal director Claire Davies and music director Paul Neilson - “Thank You For the Music” and shaping a sound that is rich, balanced and full of life. The harmonies, both onstage and from the ensemble singing backstage, are consistently strong, and the band’s presence onstage adds an extra layer of charm. Their reactions to the comedic moments unfolding around them were a delightful touch. The ABBA mega‑mash‑up overture sets the tone perfectly, teasing the hits to come and igniting the audience’s excitement.
The finale is pure joy: a high‑energy celebration that has the audience on their feet. With a disco ball spinning overhead and the cast belting out the big numbers, it’s impossible not to get swept up in the fun. The audience of Super Troupers and Dancing Queens responded with enthusiasm, proving once again why this musical remains such a global favourite.
While a few accents wavered and the occasional note drifted, these were minor blips in an otherwise polished and heartfelt opening night. What mattered most was the spirit of the performance: the warmth, the humour, the nostalgia and the sense of community that radiated from the stage.
Townsville Choral Society’s Mamma Mia! is a triumph - vibrant, funny, beautifully sung and bursting with heart. It’s the kind of show that leaves you smiling long after the final bow, humming ABBA tunes all the way home, and maybe even craving a Greek holiday.
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