It's another success by the production "dream team" led by director Lachie McLean, with Roger McClean (music), Kate Aukett (choreography), Joan Kennaway (vocals) and James Franklin (technical).
The story in a nutshell: Bride-to-be Sophie has invited three men from her mother Donna's past to her wedding.
Sharon Simpson's rendition of the role of Donna is a touch too over-wrought, where one might imagine a more chilled mamma who spurned convention to raise her child in a Greek island idyll.
But this reviewer is grateful for Simpson's gutsy performance, thankfully laying to rest the image of Meryl Streep squawking to Abba songs and being somewhat feeble in the film version.
Catherine Green, as Sophie, brought freshness and winsomeness to the role, her voice well pitched to her songs.
Stand-outs for their comedy were Emma Couper (playing Tanya), ably keying down her coloratura soprano specialty to sing pop, and a very funny, awkward Alisa Dodds (Rosie).
Ian Pritchard (Sam), Craig Robertson (Bill) and Richard Johnson (Harry) gave good performances as the (caricature) three possible dads.
The younger male roles were performed with lusty exuberance.
There were, at times, lapses in diction in spoken parts.
All the main characters and the sizeable ensemble - bridesmaids, best men, barmen, fishermen and villagers - sang and danced to great effect.
Mamma Mia! itself is a machine. The sets and costumes arrive in a container, to be unpacked and restitched by the production company. Performance rights are let out to companies with proven credentials, and the credentials of the Whangarei dream team are well proven and respected.
It is the enormous talent and hard work poured into this show by a company of outstanding calibre that give personality to that well-oiled machine. And it is the relationship between the production and the audience that takes the show to a higher level.
Mamma Mia! Northland will be remembered for the vigour and soul its makers and cast brought to the party. They nailed it.
Most memorable, perhaps, is the warmth and engagement shared between the show and an appreciative audience, with everyone from pre-teens to 90-year-olds clapping in time and tapping toes to the music, laughing in all the right places, and even getting up and boogying like it was never 1999.
