Siena Worland, Karsten Lane Flake, and Abby Lerma Photo by Rob Martel

Despite my misgivings about the rather simplistic nature of the book, the show is rather brilliantly constructed. It begins as Sophie Sheridan (Karsten Lane Flake) posts invitations to her wedding to the three men she thinks might be her father, based on reading her mother's diary entries from around the time of her conception. Sweetly singing "I Have a Dream," Sophie imagines her father giving her away at the ceremony. Then, in a moment, it's months later and Sophie's two best friends, Ali (Abby Lerma) and Lisa (Siena Worland), show up in a screaming, giggling BFF reunion. Moments later the three potential fathers, Sam (Blake Whyte), Bill (Brian Ray Norris) and Harry (Matt Gibson), arrive on the island, closely followed by Tanya (Tiffani Barbour) and Rose (Lori Haley Fox), besties and former bandmates of Sophie's mother, Donna (Allison Pearce), who now runs a taverna on the island.

With the cast of characters assembled, the story shifts into high gear. Though Sophie has asked her three potential dads not to reveal themselves to her mother, Donna discovers them in the taverna. In a lovely scene (created here by director Tony Gonzalez), the three men pose in a frozen tableau as Donna sings "Mamma Mia," which elegantly encapsulates all the emotions Donna is feeling at the sight of her former beaus: anger, regret, desire, passion. Pearce plays the scene beautifully, going to each man in turn, stroking an arm here, caressing a cheek there. All the while the men stay stock-still, mannequin-like.

Bookwriter Catherine Johnson keeps the action moving, with Act One ending as Sophie promises Sam, Bill, and Harry in turn (as each realizes he could be her father) that they can walk her down the aisle the next day. Johnson also throws in a little conflict for Sophie and her betrothed, Sky (Elton J. Tanega), when he learns Sophie has lied to him about the reason the three men are on the island for the wedding. This being a musical, all will end happily for everyone involved.

As usual, the team at Transcendence have assembled a talented cast, many with Broadway and touring company credits. As Sophie, Karsten Lane Flake has nailed the bouncy energy of a 20-year-old. Although her voice still lacks the polish and maturity to really stand out, the few catches in her phrasing are perfectly in line with a character who is still discovering her way in the world. She has a nice chemistry with Allison Pearce, making it easy to believe the two are actually mother and daughter. For her part, Pearce inhabits the character of a woman who has made her own way as a single mother with terrific verisimilitude.

Donna's two friends–and former members of "Donna and the Dynamos"–serve as perfect foils for Donna's angst. As Tanya, Tiffani Barbour plays the role of the thrice-married, thrice-divorced with a sass and confidence that can't be denied. But it's Lori Haley Fox as Rosie who steals the show. Fox was in the original London cast of the show, played in it on Broadway, and even had a small role in the movie version. Her rubbery face and easy physicality combine to make it hard to look away from her. Given her level of experience with Mamma Mia!, it's no wonder she has such a natural way with the material. Her spin on "Take a Chance on Me" is comic gold.

The men, who generally take a back seat to the women in the show, also acquit themselves well. Blake Whyte plays architect Sam with a rather stiff demeanor, befitting a man who has hidden his feelings for Donna for two decades. London banker Harry should be the stiff upper lip, staid type, but Matt Gibson plays him with a charming sense of joy. Brian Ray Norris gets the juiciest of the men's roles, adventurer/writer Bill Austin, and plays it with a delightful sense of bravado–that may or may not be justified. Elton J. Tanega is an adorable Sky, the sort of young fellow one could imagine several girls falling for.

The choreography by Monica Kapoor, assisted by director/assistant choreographer Gonzalez, fits perfectly with the signature ABBA pop sound. Its energy is infectious, and the cast perform all the moves with dynamism and amplitude. The chorus line of be-finned male dancers during "Lay All Your Love on Me" is always a highlight of the show for me. Having the chorus appear in formal wear for "Money, Money, Money" is a fitting way to echo the song's sentiment.

Though there is some mild ribaldry in the show and regular references to sex, there's nothing here that would be unsuitable for a younger audience (the crowd on the night I saw the show was the usual Transcendence mix of mostly older, mostly well-to-do folks), and a more youthful audience would love the this brightly colored, super-energetic, enormously entertaining show.

As usual, Transcendence Theatre Company gets all the logistics right. Parking and crowd management are handled with unparalleled efficiency, the number of vendors has increased, adding new options for snacks and beverages, and the volunteer staff is unfailingly polite, welcoming, and helpful. It all adds up to a fantastic night of entertainment and socialization.

Transcendence Theatre Company's Mamma Mia! runs through August 30, 2026, at Field of Dreams, 151 First Street W, Sonoma CA. Performance time is Thursdays-Sundays at 7:00pm. Tickets range from $44-$180. "Gold Level" tickets include VIP parking, free drink tickets (wine, beer and water) and admission to the pre-show lounge area. For tickets and information, please visit www.TranscendenceTheatre.org.