I'll let you in on one of the little frustrations of my life, and, in passing, you'll learn how I feel about Mamma Mia.
I love the ASCAP workshop, in which new musicals are gone over with a fine-tooth comb. We musical theatre writers spend a great deal of time and energy making sure every number is motivated, that the words and music used sounds right coming out of the character who's singing it, that, dramaturgically speaking, it makes sense for characters to break out of dialogue and into song just at the moments they do. (The show at ASCAP last night was particularly good, by the way, set in prejudice-filled Staten Island in the 1950s.)
So, how is one to feel when a show comes along and does none of those things we've been repeatedly told a musical should do? The songs DON'T fit the characters... They don't speak the same way in lyrics as they do in the book, and the musical style is frequently wrong for them (a lot of disco for a show set in the present). The breaking-in-to-song thing is frequently ludicrous, and, unlike Urinetown, no mention is made of how ridiculous it is.
The plot concerns a reluctant young mother-of-a-bride who is forced to play hostess to three men she slept with roughly nine months before her only child's birth. Sound smarmy? It is. Something like a sex farce except all the jokes aren't funny. Or, maybe that's true of sex farces; I wouldn't know. But there's none of the energy of farce, which should tick faster and faster like a speeding clock. It's all on one dull level.
A person sings to a person he's just met "Knowing me, knowing you." Huh?
Then, they wrap it up with a wonderfully energetic curtain call. And it gets people dancing in the aisles. My feeling is, this post-show dance-a-thon is SO fun, people forget how they felt about all that went before it.
Now, I'm going to return to writing a scene that has to natufally lead in to a ballad that may be a tad too modern for my early 1950s setting. It has to make sense for the character to be singing it in response to the character she shares the stage with. The audience has to understand she's singing about three men. And, if I can't succeed at all this, I'm cutting the song.