ABBAMAIL brings you the latest news from the ABBA world.
August 30, 2007
BARANSKI PUTS MAMMA MIA! FIRST
Chicago star Christine Baranski has been forced to pull out of an upcoming production of Antony & Cleopatra because she's too busy filming movie musical Mamma Mia!
The thespian, who played reporter Mary Sunshine in the hit 2002 musical, was scheduled to portray Egyptian queen Cleopatra at The Duke theatre on 42nd Street in New York, but her filming schedule has made it impossible for her to commit to the role.
First look: 'Mamma Mia!' stars having the time of their life By Susan Wloszczyna, USA TODAY The mother of all jukebox musicals is going Hollywood.
Mamma Mia! is the name of the game as super troupers Meryl Streep and Pierce Brosnan meet their Waterloo and other catchy chart-toppers by '70s Swedish pop sensation ABBA in the film adaptation.
As the show seen by more than 30 million Dancing Queen-humming theatergoers worldwide continues its sixth year on Broadway, the production of the summer 2008 release has shifted to the picturesque isles of Greece this week after 10 weeks at Pinewood Studios outside of London.
That fairy-tale setting is where bride-to-be Sophia (Amanda Seyfried of Mean Girls) gathers three ex-suitors of her taverna-owning mom, Donna (Streep), the better to learn which one is her father.
The hook-happy songs written by ABBA's Benny Andersson and Björn Ulvaeus provide much of the electricity on stage, but movies need stars. And Mamma Mia! creator Judy Craymer, who also is one of the film's producers, says the key to luring such non-musical talents as Brosnan, Colin Firth and Stellan Skarsgard as the possible papas was the mighty Meryl.
"She obviously loves singing and was bursting to do it with various projects," Craymer says of the 14-time Oscar nominee who famously lost Evita to Madonna.
"We knew that she had seen the show because she wrote a letter to the Broadway cast five years ago. Now she gets to sing nine ABBA songs."
Streep also plays disco diva with pals Julie Walters as fun-loving Rosie and Christine Baranski as naughty divorcée Tanya, who used to perform as Donna and the Dynamos.
"These are great roles for people of a certain age," Cray-mer says. "We explore the relationship between Sam (Brosnan) and Donna a little more. There are no bounds on romance with Pierce Brosnan."
The former James Bond never had the occasion to break into song in his 007 outings, although he warbled Irish folk tunes in 2002's Evelyn.
But Brosnan is making up for lost time. "When people ask me what I am doing next, and I say Mamma Mia!, a look of shock comes across their faces," he says on the first day of shooting on Skiathos in 100-degree heat. "Then they ask, 'Do you sing?' But so far, I've gotten away with it."
Craymer assures: "He sings brilliantly. He does a sexy Springsteen-style thing."
Though some might salivate at the thought of La Streep laying into The Winner Takes It All, ABBA fan Craymer is most thrilled Benny and Björn are on board. "They re-orchestrated tracks with the original ABBA band. It is a wonderful soundtrack."
From Sydney Morning Herald Robin Oliver, reviewer www.smh.com.au
Hatchets are buried in this appealing montage of memories and remorse.
Super Troupers - 30 Years of ABBA
Type Music, Documentary Channel Ovation Date Thursday August 30 Time 9:30 PM
The famous initials are taken from the first names of Agnetha Faltskog, Bjorn Ulvaeus, Benny Andersson and Anni-Frid Lyngstad, who comprised Abba, the tight-knit Swedish supergroup who fell out and went their separate ways.
Each is interviewed in this appealing montage of memories and remorse. "I wouldn't do it again," Agnetha says. The hordes of fans - "hysterical, sweaty, obsessive" - alarmed her.
Hatchets are buried here but, after 14 years, a planned reunion appearance at London's Prince Edward Theatre falls short of expectations when Agnetha fails to show and her orginal skin-tight costumes are left hanging on the dressing room rack.
The songs were all based on traditional mid-European melodies, although the basic rhythm track hides their complexity. The program is a gold mine for Abba fans and one of the most interesting sections shows Bjorn working with musical director Martin Koch to convert and orchestrate Abba songs for the retro stage show, Mama Mia.
Bjorn and Benny wrote nothing down when composing the songs, which together sold more than 360 million albums, and Koch shows how he painstakingly transcribed the original recordings.
He plays the basic track, revealing how each song was layered with the girls' voices in contrasting pitch and then double-layered at slightly differing speeds.
This was the distinctive Abba sound, though in its purest form it existed only in the recording studio.
THE flyer announcing the imminent season of ABBA MANIA at Star City touts the show as "The best ABBA concert since . . . ABBA".
At the same time as the London West End show hits our fair city, one of the five Bjorn Again bands currently in circulation is completing its national jaunt to celebrate 18 years as an ABBA tribute act.
Of course, we have a certain fondness for Bjorn Again because it is a hugely successful Australian export of a Swedish product.
You gotta love a band that played its debut gig in 1989 and has since become a multi-million dollar musical phenomenon in its own right.
We've had Mamma Mia The Musical, which they are even turning into a film starring Meryl Streep and Pierce Brosnan, and BABBA continues to feature at your local club.
This ABBAlanche has finally given me a pop nostalgia overdose.
Like every Australian girl in the '70s, I wanted to be one of the ABBA ladies and practised my turns and stares while miming the words in my bedroom mirror.
My dad bought a microphone and recorded me and my sisters singing along to every song on Arrival as we staged our own ABBA concerts in the lounge room.
We saw ABBA The Movie and as adults thoroughly adored Muriel's Wedding for its soundtrack packed with hits from the famous four.
But by 2007, the obsession has mellowed. I rarely find myself humming along to Dancing Queen. And those pretend Bjorns, Bennys, Agnethas and Anna-Frids are starting to look more pathetic than all the fake Elvises.
How truly weird is it to spend your life trying to perfect your impersonation of someone else's life?
Not even Bjorn Again can explain why ABBA tributes continue to sell-out and dominate our theatres and clubs.
"Why the incredible success and huge global appeal?" poses the Bjorn Again 18th anniversary tour press release.
"It's no use describing it here - you need to be in the audience to really get it."
Right now, I would rather the original group took the billion dollars they have been offered to reform, tour the world and blow all the tribute acts back into the pubs they sprang from.
Saturday Morning 70's, the weekly special that plays on my internet radio station Pop Goes The '70s!, will spotlight the music of ABBA on this week's edition.
More information, plus multiple air time listings for the U.S. East and West Coasts and the U.K., can be found on the station page here: http://live365.com/stations/loran2005b
For your convenience, times in Sydney, Australia are as follows: 4:00pm, 11:00pm and 2:00am (Sun.)
For those folks who only listen at work, there is a rebroadcast on Wednesday at 1pm U.S. Eastern Time (and correlated times around the world).
Saturday Morning 70's is hosted by Larry Connors, a DJ out of NY, and features the best music of the '70s and the stories behind the artists and songs. Pop Goes The '70s has nothing to do with the production of the show, but is one of its affiliates.
It's a fun and well-produced program -- hope you'll tune in!
Thanks to ABBAMAILer Merrick Wolfe, Orlando, FL USA
These are the current release dates projected for Mamma Mia! - The Movie around the world:
Russia 17 July 2008 USA 18 July 2008 Norway 15 August 2008 Sweden 15 August 2008 Netherlands 21 August 2008 Spain 5 September 2008 Germany 18 September 2008 Belgium 24 September 2008 France 24 September 2008 UK 28 November 2008 Australia 5 December 2008
Thanks to ABBA fan Dmitry Shipov, Russian ABBA Fan Club, Russia
Only a month to go and I know that I'm so excited. Here is the track listing for "Människor som du och jag" (People Like You And Me) from Peter Jöback along with my translation of the titles.
1. Intro 2. Balladen Om Det Angenäma Livet (The Ballad About The Pleasant Life) 3. Han Är Med Mig Nu (He Is With Me Now) 4. Stockholm I Natt (Stockholm Tonight) 5. Charlies Tema (Charlie's Theme) 6. Sen Du Åkte Bort (Then You Went Away) 7. Inget Vi Får Vill Vi Ha Kvar (Nothing We May Want, We Have Left) 8. Hur Hamnade Jag Här (How I Have Ended Up Here) 9. Jag Sjöng Varje Sång För Dig (I Sang Every Song For You) 10. Under Morgonljuset (In The Morning Light) 11. Stoppa Mig (Stop Me) 12. Jag Ångrar Ingenting Jag Gjort (I Regret Nothing I've Done) 13. Tänk Om Jag Hade Fel (Imagine If I Was Wrong) 14. Juni, Juli , Augusti (June, July, August)
You can see more info on the news page at http://www,joback.nu
There is also going to be a digipak version of the album.
If only it was going to be available on iTunes or somewhere like that so I didn't have to wait a week or more after it's released to hear it. :-(
Thanks to ABBAMAIL's Grant Whittingham, Sydney, Australia
Release date for ABBA - The Album - Deluxe Edition
The release date for the upcoming Deluxe Edition of ABBA - The Album, featuring six bonus track and a DVD of rare and unreleased performances and interviews, has now been finalized.
ABBA - The Album - Deluxe Edition will be released October 15, 2007 (release dates may vary between territories). The catalogue number is 060251731763.
"Chess” is a musical you want to love, with its catchy songs by members of ABBA and intelligent lyrics by Tim Rice of “Evita” fame. And in the professional hands of N.C. Theatre, it has powerhouse singing, vivid staging and arresting visuals.
So why is it so unsatisfying?
The answer lies in the musical’s origins. The popular 1984 concept album, with songs by Benny Anderson and Björn Ulvaeus, centered on chess as a metaphor for the Cold War. The 1986 London staging added a detailed plot about international chess matches in which secret agents control the destinies of players and lovers, but got mixed reviews. The 1988 Broadway production revised the plot and concept but fared no better. Subsequent revisions have made no significant improvement.
Although great emphasis is placed on the love triangle between American chess champion Freddie, his American lover Florence, and the Russian contender Anatoly she falls for, the show is ultimately about conflicting ideologies — a theme that just doesn’t musicalize well. It tries to cover too much political science with only sketchy characterizations, its somber action too fragmented to follow easily.
Still, the NCT cast does its best to minimize the problems. Carrie A. Johnson carries the show as the vulnerable but feisty Florence, torn by her newfound love and the memory of what the Soviets did to her father. Johnson’s beautiful voice makes her big numbers — “Someone Else’s Story,” “Heaven Help My Heart” and “I Know Him So Well” — worth the ticket price alone.
Aaron Ramey’s Anatoly is a sympathetic figure, caught up in his country’s political turmoil. Ramey sings with hearty tone, especially affecting in the “You and I” love duet. Ray Walker mines all of Freddie’s arrogance and egotism, supplying intense vocal characterizations, culminating in the showstopping “Pity the Child.”
Josh Tower brings a strong voice and personality to the Arbiter, official of the chess match. As Anatoly’s wife, Joan Almedilla makes her few scenes count, vocally and emotionally. James Zannelli’s Russian agent Molokov is coolly sinister, while Evan Lubeck’s American agent Walter is coldheartedly gung-ho.
Director Casey Hushion wisely focuses on the human drama, her staging clear, direct and cinematic. The production numbers surrounding the chess matches call for a flashy, surreal style, which Hushion and choreographer Josh Rhodes dutifully mount, even though they are at odds with the reality of the rest.
The clever chessboard set has embedded electronic lighting that pulses in various patterns and colors depending on the scene. On the backdrop is a large screen that shows stills and videos enhancing locations and moods. Edward G. Robinson leads the large orchestra with zest and precision, sometimes too loudly in the big numbers but sensitively supportive in the many introspective moments.
NCT’s production can be recommended for its top-notch cast and technical elements, while the score’s pounding anthems and lyrical love songs almost make up for the lack of a compelling, coherent plot.
ABBA outlasts its critics Preview: 'Mamma Mia,' the long-running musical featuring the Swedish pop quartet's songs, proves the group's detractors wrong.
By PAUL HODGINS The Orange County Register
Remember white zinfandel? Back in the '80s, everybody was drinking it, but nobody wanted to admit it.
ABBA is the white zinfandel of pop groups. Yes, they were hugely popular: more than 370 million ABBA albums were sold worldwide during the peak of the Swedish quartet's fame, from the mid-'70s through the early '80s. Yet at the time, few of the musical cognoscenti would admit to listening to the group – even though everybody must have had an album or two stashed in the back of their vinyl collections. (The anti-ABBA phenomenon may be gender-based to some degree – many who were around during the band's golden years recall women were more inclined than men to groove uninhibitedly to their songs.)
Three decades later, ABBA is finally getting the respect it deserves – not only from music critics, who have recently expressed growing (if sometimes grudging) admiration for the group's beautifully crafted, infectiously danceable songs, but in the theater. "Mamma Mia," a musical based on 24 ABBA songs, has been one of the most successful shows on the international circuit since its London debut in April 1999. A national touring production, which visits the Orange County Performing Arts Center for two weeks beginning Tuesday, is doing well – as is the Las Vegas production, which is still going strong after more than three years (it's one of the only full-length musicals to find success on the Strip).
Ian Simpson, 43, has been with the musical continually since he first auditioned in Toronto nine years ago. He estimates he's done more than 2,500 performances of "Mamma Mia." Simpson has thought a lot about the reasons for the show's longevity, and for the wildly enthusiastic receptions "Mamma Mia" receives in places as diverse as San Francisco and Saskatoon, Saskatchewan.
"I think that first and foremost, it has to be the music that draws people. ABBA were such brilliant songwriters and the songs are really well-crafted.
"Also, (the musical) came at the right time. Baby boomers were looking back and rediscovering the guilty-pleasure music of their past. And a new generation was discovering the music of ABBA for the first time – I think a lot of boomers were bringing their kids (to the show)."
Simpson also credits the show's book, by Catherine Johnson, which manages to weave many of ABBA's most popular songs into an elaborate story about romance, rekindled dreams and relationships, and marriage on an exotic Greek island. As her wedding approaches, a young woman's desire to find out who her father is centers on three men from her mother's past. They come back to the island they last visited 20 years before.
"Catherine did a great job with the writing. It's so amazing the way she weaved the songs into the story," Simpson said.
Simpson remembers the stigma associated with ABBA when he was growing up. But he was an unabashed fan from an early age. "I had an ABBA album in the '80s. I'm not sure I was that closeted about it. I used to dance to ABBA songs and act them out in my living room."
Feverish fans
Mary Jayne Raleigh doesn't have nearly the history with "Mamma Mia" that Simpson does; she's been with the tour only since March. "I didn't even see it until after I found out I was going to audition for it," she said.
Raleigh is aware that a lot of "Mamma Mia" imitators have failed. Its success caused a "jukebox musical" trend – shows based entirely on songs of revered super-groups. But "Good Vibrations," a mindless musical featuring the songs of the Beach Boys, died quickly in New York. So did Twyla Tharp's Bob Dylan-laced fantasy spectacle, "The Times They Are A-Changin'."
"I think the difference is the story line. It's not just, 'Oh, here comes another ABBA song.' They actually help propel the story," Raleigh said. "That's been a big reason why this show has been so successful."
Raleigh places ABBA in the same category as Barry Manilow: formidable songwriting/performing talents that for some reason people are sometimes afraid to admit admiring. But the reactions she sees on the tour make it obvious to her that the ABBA stigma is a thing of the past. Raleigh was amazed by the level of feverish fandom shown in some cities.
"I've seen people wearing feather boas and dancing down the aisles. It's pretty amazing. I've never been involved with another musical where that kind of thing happened." (Simpson said San Francisco holds the record for unbridled audience participation.)
Her favorite part of the show, Raleigh says, is the end – a mini-concert that provides an opportunity to squeeze in a few ABBA songs that couldn't be incorporated into Johnson's story line.
"It's a huge payoff. The audience thinks the show's over and it's like, 'Oops, there's more. Wow!' It's hard not to dance and sing along when we do 'Dancing Queen.' I read a review that I think sums up this show perfectly: 'It's like an anti-depressant without a prescription.' "
Even by global standards, Meryl Streep is a rare thing: an actress of intellect and compassion, great natural beauty and truly inspirational talent.
With 14 nominations, she is the most Oscar-nominated actor (either male or female) in Academy Award history.
She is also one of the few people to have won all three of the major movie acting awards (Oscars, Golden Globes and Screen Actors Guild).
So it was a real coup for Northern Ireland in general, and the Old Museum Arts Centre (OMAC) in particular, when Ms Streep honoured her promise to help drum up support for the planned new Metropolitan Arts Centre.
She generously gave up a precious weekend in London from the set of her latest movie, the ABBA musical Mamma Mia!, to travel to rain-soaked Belfast.
In doing so, she lent impressive authority to the plans for the new MAC, which aims to take up where OMAC left off at the cutting edge of contemporary drama in Northern Ireland.
Tributes should be paid to those at OMAC and elsewhere for the originality of their vision and the energy with which they are pursuing it. Like Ms Streep's visit itself, it will enrich us all.
I have finally translated the lyrics for Peter Jöback’s new single “Stockholm i natt” into English. A fellow Peter fan helped me with a couple of the tricky bits.
Although I could understand bits and pieces of the lyrics, it was only when I put them altogether that I could fully appreciate how romantic the song really is.
The general gist of the story is that Peter gets a phone call from someone close to his heart and drops everything to hurry through the streets of Stockholm to meet him (I’m assuming that the lover is a he). Along the way, he recalls places, meetings and events that tie him to his lover as well as observing how beautiful Stockholm and his life are tonight. The story ends when Peter arrives at the bar and feels his lover’s hand on his arm.
The places are all real and close to where I used to live, which helped me connect even more with the song. I recognised the route he took and even used Google satellite maps to follow his trip through the wind and rain. How sad is that?
There are references to two real-life people. Anna Lindh, the Swedish Foreign minister who was murdered in 2003, and Clark Olofsson who was part of a major bank robbery in 1973 where hostages were taken. This robbery was the source of the expression the “Stockholm Syndrome” where the hostages end up sympathising with their captors and even forming relationships with them.
So, not only is it a rich sounding music production but it also has a great story. As I played the song on repeat this morning, it made me yearn for Stockholm even more. The video is superb and has plenty of recognisable shots of Stockholm.
I hope the rest of the album is up to this standard.
I hang up and run out without locking the door I'm on Götgatan, the wind always seems to be blowing here by Skatteskrapan It feels like it is keeping the whole sky from falling down
I hurry further northward through the night I remember that it was here at Medborgarplatsen That Anna Lindh gave her last speech It was September 2003
The same year we met sometime at Gondolen Then we saw each other again and I yearned so There was something in the air that autumn There was fog and light and the voices
I see the grime and the darkness in Gamla Stan Sense the scent of fear from Stureplan And I just want to cry So beautiful is Stockholm tonight
And I walk along Skeppsbron and lean into the wind It seems to rain now, I dry my cheek And the boats lie in the water I suppose that they long to get away from here
I am at Norrmalmstorg, I think about Clark Olofsson So many chances, why didn't he ever take any of them? And the same thing with me, it is so easy to stay behind So hard to go
And I remember that I saw you at Bern's Terrace And I thought about everything I could have had And I thought about the life I had lived And I regret the most, how it became so
I see Strandvägen stretching ahead, satisfied and happy I see the blue lights flicker atop Södermalm I just want to cry So beautiful is Stockholm tonight
I see the grime and the darkness in Gamla Stan Sense the scent of fear from Stureplan And I just want to cry So beautiful is Stockholm tonight
And you finally rang and I rushed out All the years, all the dreams about happy endings Is it finally going to happen in Stockholm tonight?
In Riche, Lilla Baren is full and cosy And I feel a hand take hold of my arm And I just want to cry So beautiful is life tonight
I see the grime and the darkness in Gamla Stan Sense the scent of fear from Stureplan And I just want to cry So beautiful is Stockholm tonight
I see Strandvägen stretching ahead, satisfied and happy I see the blue lights flicker atop Södermalm I just want to cry So beautiful is Stockholm tonight
Tonight
Tonight
Thanks to ABBAMAIL's Grant Whittingham, Sydney, Australia
The compact disc was jointly developed by Philips and Sony
Exactly 25 years ago the world's first compact disc was produced at a Philips factory in Germany, sparking a global music revolution.
More than 200 billion CDs have been sold worldwide since then and it remains the dominant format despite the growth in digital downloads.
The CD was jointly developed by Philips and Sony and the disc has also become a key storage method for computer users.
The first CD produced was The Visitors by ABBA.
Piet Kramer, who was a member of the optical group at Philips during the disc's development, said: "When Philips teamed up with Sony to develop the CD, our first target was to win over the world for the CD.
"We did this by collaborating openly to agree on a new standard. For Philips, this open innovation was a new approach and it paid off."
He said the companies had never imagined that the computing and entertainment industries would also opt for the CD as a storage system for content.
Jacques Heemskerk, who was one of the senior engineers involved with the optical side of CD players, said the team knew they were building a revolutionary product.
"It was revolutionary in many fields - the optics were new, the disc was new. At the start of development there wasn't even a laser that would work well enough for our needs.
"The most advanced laser at the time had a lifespan of only 100 hours."
He said the company had always planned on the format lasting at least 20 to 25 years.
"That was the model we had in mind although it seems that CD is going to last a lot longer than that. For many people the CD is still the original format, with others being derivative or back-ups."
The two companies began work on the format in 1979 and targetted a disc which could hold an hour of audio. The capacity was extended to 74 minutes, however, to accommodate a complete performance of Beethoven's 9th Symphony, forcing the disk to be made slightly larger."
We were suspicious and so were their engineers Jacques Heemskerk, retired Philips engineer, on Philips working with Sony
"I always wish we had stuck with the original plan for an 11cm disc; it would have been more suited to the on-the-go age," said Mr Heemskerk.
He said that it had been a big culture shock for Philips when they had allied with Sony.
"The world was not as globalised as it is today. Our management had told us to be as open as possible and to share everything because that was the only way to have success.
"But we were suspicious and so were their engineers. But after a few days it became clear we could work together."
He added: "There were other companies working on similar technologies, so there was pressure.
"We always knew we could make the product but it was always about making it for the right cost and at scale."
The first CDs went on sale in November 1982 and were mainly classical recordings.
Classical music lovers were believed to be more affluent than pop and rock music fans, and Philips thought they would be more inclined to pay the price for the more expensive CDs and the very expensive CD-players,
The first models cost 2,000 Dutch guilders, about £1,000 at today's rate, taking into account inflation.
"When Chilean pianist Claudio Arrau recorded one of the first CDs for Polygram we discovered that he was grunting and panting while playing. Before on vinyl you didn't hear that but on CD it was crystal clear," said Frank van den Berg, a former member of the Polygram CD development task force.
In the last 10 years CD sales have been dropping worldwide while digital download sales are rising rapidly.
According to the International Federation of the Phonographic Industry (IFPI), digital sales will account for a quarter of all worldwide music sales by 2010.
CD sales in the UK have dropped 10% in the first half of this year, while download purchases have increased by 50%.
Richard Gooch, head of technology at IFPI, said: "CDs remain a very popular format for buying music in the digital era - indeed as CDs are a digital format they actually kick-started the digital age.
"The CD remained the most popular Christmas present in Britain last year. Despite the rise of downloading we expect that the CD will be here for many years to come."
Mr Heemskerk said CDs remained his format of choice.
"I don't have an iPod, although my youngest son uses one. But CDs are still his preferred format and he copies them on to his MP3 player."
Story from BBC NEWS: http://news.bbc.co.uk/go/pr/fr/-/2/hi/technology/6950845.stm
Okay, maybe a little more, in OCPAC’s Mamma Mia! By DAVE BARTON
My mother adores ABBA. I remember their records playing constantly as she danced around on our living room’s shaggy green carpet, trying to entice me to join her. I just folded my arms, leaned my mohawked head and leather-jacketed body back against the couch, and glared at her.
It was their MTV-splashed videos that filled me with ABBA hate—too many views of those big boobs, sequined moon outfits, blond Nordic hair and impossibly tight pants. My disdain for those tacky ’70s and ’80s accoutrements made me avoid Mamma Mia!, the 1999 musical comedy based on and around Benny Andersson and Bjorn Ulvaeus’ hook-happy hits. Factor in a partner who worships the ground ABBA walks on and too many gay-bar dance marathons embedding these songs in my head, and there was no way I was getting near it.
But like a homing signal with a good beat, I somehow felt myself drawn to Mamma. I’d see the TV commercials, and before I could scream Terence Stamp’s angry Priscilla, Queen of the Desert cry, “NO MORE FUCKING ABBA!”—I was sucked in. The people in the commercials were dancing with an exuberance that seemed, dare I say, joyful. They had freakin’ smiles on their faces! Not the plastic, Vaseline-teethed Cheshire Cat grins of Miss America pageant winners; these people actually seemed to be enjoying themselves. What was that all about?
So I was prepared to hate this OC Performing Arts Center production, but during the show, something strange happened: I found myself smiling.
The story is deceptively simple: Sophie (Vicki Noon, a cherubic delight with a voice you could package and sell as an antidepressant) is getting married. She’d like to have her father give her away, but they’ve never met, and her mother has never talked about him. Snooping through Mom’s diary, she discovers her mother had a busy summer the year Sophie was conceived and isn’t sure who the father is herself.
While it’s never established exactly how she can track them down based on a first name and a diary blurb, Sophie sends wedding invitations to the three most likely biologicals. The men show up, and wackiness ensues as each thinks he’s Sophie’s dad, with periodic breaks for the characters to sing all those great songs. Catherine Johnson’s entertaining book moves like a steam train, knocking most of the reservations I have about musicals out the window. The piece falls victim to Second Act Syndrome—there’s some needless repetition, and the whole thing is about a half-hour longer than it needs to be. That aside, Johnson uses the music not as a shiny object to distract the audience from the lack of plot, but as a revelation of a character’s thoughts, propelling the story forward.
With its abundance of focused female energy onstage, its embrace of female sexuality, Phyllida Lloyd’s vibrant direction, and a feminist ending that simultaneously rejects and embraces the idea of marriage, you could argue its gynocentrism is undercut by strong women mooning over men like little girls at a slumber party—but why bother? Mamma Mia! isn’t aiming to be Brecht. It just wants us to ponder how childlike we are, how needy we can be for the adoration of our parents, how fickle love (and sex) is and how human we are. And if you feel like dancing your ass off along the way, that’s fine, too.
Athens - James Bond star Pierce Brosnan will swap guns for ABBA songs this month when he begins filming a Hollywood version of the hit musical "Mamma Mia!" on the Greek island of Skiathos, the show said on Wednesday.
The Irish actor's co-star Meryl Streep may also make an appearance when filming begins there and on the neighbouring island of Skopelos on August 29, a production official said on condition of anonymity.
The film is hoping to recreate the success of the British musical, created in 1999 using songs by hit Swedish band Abba, for the big screen.
The story revolves around a young girl who is about to get married and decides to track down the father she never knew.
Brosnan, best known for his slick portrayal of 007, will play - and sing - one of her possible dads and Streep will play her mother.
Actor Tom Hanks is producing the film, due to be screened next year, and the stage musical's British creator, Phyllida Lloyd, will direct, according to the Hollywood trade press.
In anticipation of the stars' arrival, residents of Skopelos have created a blog dedicated to the film and to promoting the two islands as tourist destinations.
Greek authorities have in recent years been promoting the country as a film location.
AND THIS IS THE COMPANY THAT BJÖRN & BENNY ARE IN BED WITH!
Universal messing with a mum's vid of her baby on YouTube!! where will it end??
Dancing toddler video yanked from website
A mother is suing Universal Music Publishing Group for insisting a video of her toddler dancing to music by pop star Prince be yanked from YouTube on copyright violation grounds.
Electronic Frontier Foundation lawyers said they filed a lawsuit yesterday asking a San Francisco federal court to protect the woman's fair use and free speech rights.
"Universal's takedown notice doesn't even pass the laugh test," said EFF lawyer Corynne McSherry.
"Copyright holders should be held accountable when they undermine non-infringing, fair uses like this video."
The 29-second video shows Stephanie Lenz's young son wearing a red jumper and holding a toy stroller for balance as he bounces in place to Prince's song, Let's Go Crazy.
Lenz uploaded the home video to YouTube in February but was informed last month that it was deleted from the website after Universal complained use of the music violates the company's copyright.
Two links from Expressen this morning - Meryl Streep is in Stockholm with Benny.
The gist is basically, they're in Stockholm, she had dinner with Benny and some friends, thinks Sweden is a beautiful country, they had a big hug when he took her back to her hotel.
Meryl also said that she was hoping to meet Frida but the article doesn't say if that happened. She thinks Benny is wonderful. It's Meryl's first trip to Sweden and she was only there for a few days. They had dinner at the Grand Hotel. After dinner, Benny drove Meryl and her girlfriends back to the hotel. They stood and talked and laughed by the car for a while and Meryl gave Benny a big hug.
The article also mentions that Pierce Brosnan and Swedish actor Stellan Skarsgård are in the movie. Stellan plays Bill.
The movie premiere is planned for August next year.
Thanks to ABBAMAILer Sara Russell, UK and ABBAMAIL's Grant Whittingham, Sydney, Australia
Benny has written both the music and the lyrics for this new song which was also performed at "Allsång på Skansen" this month. The song is called "Bonde Söker Fru" (Farmer Seeks Wife. This song is also sung by Tommy Körberg.
Mamma Mia! to Become Longest-Running Show at London's Prince of Wales Theatre
By Andrew Gans 01 Aug 2007
On Aug. 18 the London production of Mamma Mia!, which currently features Linzi Hateley as Donna Sheridan, will become the longest-running tenant of the Prince of Wales Theatre. That title was previously held by Andrew Lloyd Webber's Aspects of Love.
The international hit musical, which features the songs of ABBA, will also celebrate another milestone this month. On Aug. 23 Mamma Mia! will play its 3,500th performance.
In addition to Hateley, the West End company currently boasts Joanna Monro as Rosie, Jane Gurnett as Tanya, with Iain Fletcher as Sam Carmichael, Steven Finch as Harry Bright, Paul Hawkyard as Bill Austin, Hannah Robertson as Sophie Sheridan, Paul Shelford as Sky, Lucy Miller as Ali, Tanya Robb as Lisa, Ben Heathcote as Pepper and Kieran Jae as Eddie. Lucy Harris plays Donna at select performances.
Mamma Mia! employs the hit songs of famed pop group ABBA to tell the story of Sophie Sheridan, a young girl who hopes to discover the identity of her father. On the eve of her wedding, she brings three men from her mother Donna's past back to the Greek island they visited over two decades ago.
The show features music and lyrics by Benny Andersson and Björn Ulvaeus, a book by Catherine Johnson, direction by Phyllida Lloyd and choreography by Anthony Van Laast. In New York, the musical plays the Winter Garden Theatre, which is located at 1634 Broadway.
Mamma Mia! is currently booking through June 2008. For tickets visit www.mamma-mia.com.
Two of London's longest running musicals reach landmarks in their history this month. Mamma Mia!, the fun-loving musical created around the songs of Swedish supergroup ABBA, celebrates its 3,500th West End performance on 23 August, just five days after becoming the longest running show at the Prince of Wales on 18 August. The world's longest running current musical, Les Misérables, marks its 9,000th London performance on 10 August.
Mamma Mia!, the musical favoured by Dancing Queens and Super Troupers, opened in London over eight years ago. Telling the tale of Sophie who, as she is about to get married, tries to discover the identity of her father, Catherine Johnson's book is interweaved with a collection of ABBA's most famous hits.
Since it premiered in the West End, Mamma Mia! has grown into a global phenomenon, and has been seen by more than 30 million people in 160 cities across the world. In the UK alone, 4.5 million people have enjoyed an evening of pop-tastic entertainment and the show has made £155 million.
Mamma Mia! currently stars LinziHateley, Joanna Monro and Jane Gurnett alongside Hannah Robertson as Sophie Sheridan, and is booking until 28 June
Les Misérables, adapted from Victor Hugo's epic novel by the team of Alain Boublil, Claude-Michel Schonberg and Herbert Kretzmer, with direction by Trevor Nunn and John Caird, keeps setting the benchmarks by which all West End long-runners are measured.
Occupying its third London home – Les Mis has played at the Barbican, Palace and now Queen's – the tale of love, loss, crime and forgiveness in revolutionary Paris turned 21 on 8 October 2006, becoming the longest running musical in the world by breaking the record set by Cats. Worldwide, Les Mis has been seen by more than 55 million people in 38 countries.
The West End production is currently led by John Owen-Jones as Jean Valjean, and Hans Peter Janssens as Javert, and is currently booking until 27 September 2008.
Alastair Campbell signs copies of his book, The Blair Years, at Waterstones bookshop in York
HE was once said to be the second most powerful person in England - and yesterday he was in York, running alongside the River Ouse to the sounds of Dancing Queen.
Alastair Campbell, a self-confessed ABBA fan and the former press secretary to Tony Blair, was in York to promote his new book - The Blair Years.
He stayed overnight at The Hilton, before making a flying visit to Waterstones, in HIgh Ousegate, to sign copies of the book - a collection of extracts from his personal diaries.
Mr Campbell, who is flying to America on Sunday to sign more copies of his book, said he had enjoyed his trip to York.
He said: "I went for a run when I arrived in York last night and as I was running down the Ouse I heard Dancing Queen being sung really loud.
"It was pretty authentic and I thought ABBA had come back. I have to admit I'm a bit of an ABBA fan and I tried to follow the noise to see where it was coming from." advertisement
The voices Mr Campbell had heard were those of ABBA tribute band, Bjorn Again, who were singing on Knavesmire, during the Music Showcase Meeting at York Racecourse.
But the 50-year-old said his lasting memory of York would be from a trip to Bootham Crescent back in April 1992, when he watched his beloved Burnley win promotion with a 2-1 victory over York City.
As for his book, Mr Campbell said: "It took me two years to transcribe my diaries and another year to edit them.
"If I'm honest it was a slog, but it was also quite therapeutic trying to work out what I really thought about what had happened.
"I hope what it does, is show that in the end, politics is just human beings trying to do what they think is the right thing.
"I actually like Tony Blair and respected him more at the end than at the beginning.
"He has done an amazing job in incredibly difficult circumstances and I hope people will see his humanity."
Mamma Mia! will become the longest ever running show at the Prince of Wales Theatre on Saturday 18 August 2007, overtaking the record previously held by “Aspects of Love”. The show will also celebrate its 3,500th performance in London on Thursday 23 August 2007
Based on the songs of ABBA, Mamma Mia! opened in London at the Prince Edward Theatre on 6th April 1999, following previews from 23rd March 1999. It transferred to the Prince of Wales theatre on 3 June 2004, where it is currently booking to 28 June 2008
The current cast includes Linzi Hateley (Donna Sheridan), Joanna Monro (Rosie), Jane Gurnett (Tanya), Iain Fletcher (Sam Carmichael) , Steven Finch (Harry Bright) , Paul Hawkyard (Bill Austin), Hannah Robertson (Sophie Sheridan) , Paul Shelford (Sky), Lucy Miller (Ali), Tanya Robb (Lisa) , Ben Heathcote (Pepper) , Kieran Jae (Eddie) .
The show has music and lyrics by Benny Andersson and Björn Ulvaeus.
This original musical, which is a story of a mother and daughter set on the eve of the daughter's wedding, has a book by Catherine Johnson.
It is designed by Mark Thompson, with lighting design by Howard Harrison, sound design by Andrew Bruce & Bobby Aitken and musical supervision, additional material and arrangements by Martin Koch.
It is choreographed by Anthony Van Laast and directed by Phyllida Lloyd.
