Directed by Phyllida Lloyd
Starring Clare Louise Connolly Kristin. BaranskiAshley LilleyAmanda SeyfriedJulie. WaltersMeryl StreepNorma AtallahEnzo Squillino Jr.Juan Pablo Di PaceDominic Cooper
Premiere 2008-06-30Length 90 mins
Genre Comedy Dance Dance Romance Region UK Dubbed English
Plot
The Plot
Sophie and Sky's love is about to come to fruition, and the two of them are busy with the upcoming wedding celebration. ...... Sophie's two girlfriends arrived at the island as bridesmaids one after another, and faced with her best friend, Sophie finally couldn't help but tell the secret she had been hiding in her heart: she had inadvertently seen her mother's diary, and found that there was a secret in the diary. Seeing her mother's diary, she discovers that there are three men who may be her father, they are businessman Sam Carmichael, explorer Bill Anderson and banker Harry Bright, and Sophie sends out wedding invitations to them without her mother's knowledge. And these three men, from different countries and different cities, have set off on their way back to the island, where they all have an unfinished business: almost 20 years ago, they all fell in love and broke their hearts for the same woman, and that woman was Donna.
For her daughter's wedding, Donna has called on her former bandmates, Rosie, who is a great conversationalist, and Tanya, who has gone through several divorces and is now a wealthy woman. ...... Sophie introduces her sisters-in-law to her fiancé, Sky, and tells them that she is planning a Web site for the wedding, which will attract more visitors. She told them that she was planning to design a website for the wedding, which would attract more tourists to the island, as the sparse clientele had made the inn's financial resources very unstable.
Donna is more than a little confused by the prospect of having to deal with three ex-lovers at once when three men who may be Sophie's father arrive on the island at the same time, and she finally reveals to Rosie and Tanya the uneasiness she's been harboring all along: even she doesn't know who Sophie's real father is. ...... The night before the wedding, everything that should have come and should not have come were focused on the island, each had to face the once-neglected little secret in their own hearts, and when Donna finally mustered up enough courage to tell Sophie that she wasn't sure which one of the three men was her father, Sam, Bill, and Harry said at the same time that they were so proud to have such a daughter as Sophie that they would be willing to be one-third of her Dad. Not only that, but Donna and Sam, at the same time, seem to find electricity in each other - and while it's a bit confusing, each will eventually find that answer for themselves.
Background and Behind the Scenes
Tracing the origins of the story told in "Mamma Mia," it began in the 1980s. Producer Judy Kramer has been actively meeting with Benny Andersson and Bjorn Ovals of ABBA for a wide-ranging dissection of Chess, the first stage play tied to her band, and Kramer says she's been y moved by the power of what's in it: "It was, after all, ABBA that created 'Prom Queen, and now it's one of the greatest pop songs of modern times." Kramer, subliminally influenced by the dramatic style of their songs, decided to re-prepare a stage production that would not only be able to feature the Abba's music, but also give it a completely new form of storytelling using the arrangement of scenes. For example, "Winner Takes All", one of the Abba's most meaningful songs, kicks off the entire story through the heartfelt performance of the character of Donna; and a poignant song originally titled "My Story" - arguably the most groundbreaking Abba ever written, and one of the group's well-deserved U.S. One of the Top 10, on the other hand, was a medium for letting the audience's emotions run wild.
Although the content of Mamma Mia has nothing to do with Abba's musical contributions or the history of its members and the band, at first it was clear that Benny Andersson and Bj?rn Ovals didn't want to get involved in this "muddy waters", and in any case shook their heads in response. However, producer Judy Kramer, with her amazing perseverance, made the most of her three-inch tongue to persuade the two men to agree to their song as the basic ...... of the entire stage show until 1995, when Kramer's persistence finally paid off and the two men nodded their heads and agreed to do the show, provided that Kramer provided a good storybook, and that the two men were able to get a good story. provide a storybook good enough to carry these classic songs, so Kramer shifted direction and began another intensive search for a writer with a proud talent, and two more years passed ......1 In 1997, Kramer met screenwriter Kathleen Johnson and realized that he had found the person with the incredible talent and emotion in the right person.
Judy Kramer briefly outlined her requirements to Katherine Johnson, and also explained to Johnson how Abba had captured the hearts of two very different age groups at the same time, as their songs ranged from the youthful, playful and na?ve "Darling" and "Prom Queen," to the more mature, reflective, and emotionally rich, such as "Winning" and "The Queen of the Prom. With songs like "Winner Takes It All" and "Knowing Me Knowing You," Kramer insists that the Abba's songs contain within themselves a story that will appeal to generations.
Additionally, Judy Kramer sensed that Katherine Johnson seemed to think that the themes hinted at in Bjorn Ovals' lyrics were all about something to do with weddings and vacations, and Kramer recalled, "I told Johnson that she had to forget about the songs and create a story of her own, that is to say, a story that is just as good and just as touching without the songs. just as good and just as moving, and she did take my advice."
The music was just a means to set the mood
For Katherine Johnson, who had to embark on a great deal of pre-production work for the stage show, there was also poring over the lyrical parts of all of Abba's songs from A to Z. As a starting point for all of this ...... Johnson knew she had to create a separate story framework that strayed away from the music, followed by an effective selection of songs to enhance the play's presentation. Subsequently, Johnson also realized that she would have to keep a constant eye on the song speeds of the Abba songs she chose, and that their appearance would have to fit perfectly with the rhythm of the story as it progressed up to a certain point - not an easy job.
Katherine Johnson's efforts soon bear fruit, and in the end she has created a heart-warming, uplifting, and well-written story about two generations of women with different views of love, and the two very different outcomes of rash and mature love, before interspersing them with friendships, notes on identity, and wish-fulfillment... ...Johnson and Judy Kramer agree that such a content setting is sure to strike a corresponding **** in the hearts of all, creating a force of attraction that can't be ignored for any age, male or female, regardless of nationality - much like the effect achieved by the songs of Abba.
With a very good script in place, Judy Kramer worked non-stop to find a suitable director, and she surprisingly managed to persuade opera director Phyllida Lloyd, who is highly respected in the theater world, to come on board. After reading the libretto, even Lloyd couldn't help but be mesmerized by it, but it wasn't just the Abba songs that concerned him, it was also the rare aura of serenity throughout the production, which Lloyd methodically summed up by saying, "Without a disclaimer ahead of time, even Benny Andersson and Bj?rn Ovalls themselves wouldn't have perceived that this was a story based on their songs story that was created."
The person who came closest to the Abba and the stage crew throughout the production was Bj?rn Ovals, who recalls, "Everything changed, songs were taken in and out. I remember vividly that Katherine Johnson really knew the meaning of every song and every lyric we had, bearing in mind that there can be hundreds of songs here ...... and one of the basic principles they followed was: don't change them, but blend them."
As for Benny Anderson, who didn't show up at the theater until the first preview of this stage show, he said, "I think that the audience that walks into the theater is probably going to be completely blown away because no matter what you thought before, you're going to come to a completely different conclusion after seeing the show, and that's what's so wonderful about Mamma Mia. The use of song is fantastic and plays an important role in connecting the context and driving the story forward in an intelligent way, and I was instantly smitten with what Katherine Johnson had created, and she's now my idol." Mamma Mia first officially hit the stage for an audience on April 6, 1999 at London's Prince Edward Theatre ...... By June 2005, the stage show had officially opened for its 1,000th performance, making it the longest-running "lifespan" on Broadway. The longest running show on Broadway.
"Mamma Mia" in London not long after the public performance, there are several film companies expressed a willingness to invest in its adaptation into a film ...... Eventually, by Tom Hanks and Gary Goldsman's Playtone Films, combined with Judy Kramer's Littlestar, **** with the responsibility of adapting the film. Hanks, a producer, recalls watching the stage production, "Almost from the 12th minute on, I was on my feet with the rest of the audience, humming along with the music." Another producer, Goldsman, said, "One of the most important elements of adapting this stage play into a movie was to make sure to capture the atmosphere, the energy, and the soul of the story that erupted when it was onstage, and we all knew that if we could do that, we would be guaranteed to bring a great movie to the table."