I had the time of my life at Birmingham's most feel-good night out

There are musicals you go to admire politely, and then there are musicals like MAMMA MIA! UK Tour — the kind where the audience arrives already half ready to leap onto the nearest table and yell “GIMME! GIMME! GIMME!” at strangers.

The current Birmingham Hippodrome run is pure serotonin theatre: loud, joyful, gloriously camp in all the right places, and packed wall-to-wall with ABBA bangers that somehow still sound as fresh as ever.

From the moment the overture kicks in, you can feel the mood in the theatre shift. This isn’t one of those hushed evenings at the theatre where everyone sits stiffly clutching a programme. The crowd - delightfully and unapologetically older in places - came for a good time (although you are told NOT to sing-a-long).

Built around the iconic songs of ABBA and created by Benny Andersson and Björn Ulvaeus, this jukebox musical remains one of the most shamelessly feel-good nights you can have in a theatre.

Yes, the plot is gloriously bonkers - a bride-to-be secretly inviting three possible fathers to her Greek island wedding - but honestly, nobody’s here for gritty realism. They’re here for “Dancing Queen,” emotional chaos, questionable wedding planning, and platform boots.

And this cast absolutely delivers.

Lydia Hunt’s Sophie is a genuine standout. Vocally, she’s sensational - warm, crystal-clear, and emotionally grounded even when the show is sprinting headfirst into full-blown disco madness.

Her performance gives the story a real heart beneath all the sequins and sunshine. Whether soaring through the more emotional moments or belting out the bigger numbers, she commands the stage effortlessly.

Then there’s Sarah Earnshaw as Tanya, who nearly steals the entire production through sheer comic brilliance. Every line lands. Every look gets a laugh. She understands exactly what kind of show MAMMA MIA! is and leans into it with magnificent confidence.

Tanya can sometimes feel like a side character delivering one-liners between songs, but Earnshaw turns her into the evening’s comic engine. Her scenes fizz with energy, and the audience absolutely adored her.

Mark Goldthorp’s Bill Austin also brings a wonderfully easy charm to the production. Relaxed, funny, and instantly likeable, he gives Bill a playful warmth that works beautifully against the chaos unfolding around him. There’s a real sense of fun every time he’s on stage, and his presence helps keep the whole show buoyant and breezy.

And then, of course, there’s the music.

“Mamma Mia,” “Voulez-Vous,” “SOS,” “Take a Chance on Me,” “The Winner Takes It All” - it’s essentially two-and-a-half hours of hit after hit after hit. The sound is huge, the orchestra punches through beautifully, and by the second half the entire theatre feels like one giant karaoke party with better lighting.

By the finale, any remaining British reserve has completely evaporated. People are on their feet dancing in the aisles, waving arms in the air, singing at full volume, and grinning at complete strangers. You don’t just watch MAMMA MIA! you surrender to it.

That’s the secret of why this show has endured for so long. Beneath the glitter and comedy, there’s something irresistibly communal about it. It invites everyone in. Whether you’re a lifelong theatre fan or someone dragged along “just for the songs,” it’s almost impossible to leave without feeling lighter than when you arrived.

The Birmingham audience certainly did.

Runs until May 30. Book here.