Review | Mamma Mia! Here We Go Again: My My, How Can I Resist You?

When “Mamma Mia!” first landed on Broadway in October 2001, just weeks after 9/11, it was dismissed by many as a lightweight jukebox musical designed for tourists. But that didn’t matter. The ABBA-fueled spectacle became an instant balm, a sun-soaked, feel-good celebration that audiences embraced for 14 years and 5,773 performances. Now, in the shadow of today’s political, cultural, and economic uncertainty, the show has returned to its original Broadway home, the Winter Garden Theatre, for a limited six-month engagement, and it’s once again the theatrical equivalent of a much-needed pick-me-up.

The show has not been updated since its original Broadway run, which means it has now become a period piece set in the late 1990s, with the adult characters looking back on their youth in the 1970s which was apparently full of sex, marijuana, and disco. A few high-tech flourishes from the original Broadway staging (including the triumphant elevator lift during the megamix finale) are gone, giving this version a scaled-down feel. Nevertheless, it still delivers the same mix of humor, sentimentality, and unabashed ABBA worship.

This is not a full-scale Broadway revival but rather an extended stop on the show’s 25th anniversary national tour. The cast is made up almost entirely of unknowns, most making their Broadway debuts. The performances are generally solid and functional rather than idiosyncratic, which may be ideal here, as it places the emphasis squarely on the show’s enduring appeal and ABBA’s irresistible songs. They keep the energy high while delivering the material with enthusiasm and polish. Among the cast, Amy Weaver is especially winning as Sophie, the young woman whose upcoming wedding and desire to learn her father’s identity brings the plot into motion.

It’s worth considering just how much “Mamma Mia!” changed Broadway. Its 2001 arrival paved the way for an endless wave of jukebox musicals, though few have matched its commercial or artistic success. People continue to underestimate how well the show works. Catherine Johnson’s book may be flimsy, but it’s also tight, effectively weaving ABBA’s greatest hits (“Dancing Queen,” “The Winner Takes It All,” “Take a Chance on Me”) into a simple but moving story that celebrates friendship, family, female empowerment, and second chances at love. The male characters may be secondary, but the show’s inclusivity and optimism are front and center.

Revisiting “Mamma Mia!” in 2025 feels like catching up with an old friend who hasn’t changed much and whose company is still comforting. Much like the plot itself, which revolves around unexpected reunions on a Greek island, the return of the show is a reunion of sorts: warm, familiar, and brimming with shared memories. It’s family-friendly (plenty of parents with kids were in the audience at my performance), unifying (imagine both sides of the political aisle swaying together during “Dancing Queen”), and infectiously enjoyable.

In the years since its original Broadway run ended, we’ve lived through Trump 1.0, the pandemic, and the start of Trump 2.0. Just as in 2001, Broadway could use a bit of sunny escapism, and “Mamma Mia!” delivers exactly that. Like a McDonald’s hamburger, it’s the same show you’ll find anywhere in the world, and that consistency is oddly comforting. This is ideal summer theatergoing: light, colorful, mainstream, and ultimately life-affirming.

Through Feb. 1 at the Winter Garden Theatre, 1634 Broadway, mammamiabway.com.