Return of “Mamma Mia!” to the Winter Garden Theatre

How could anyone resist the charm?

After nearly a decade, the iconic “Mamma Mia!” marquee is back at the Winter Garden Theatre on 50th Avenue, where it lit up the area for 12 years.

A friend of mine excitedly snapped a picture of the famous poster showcasing a joyful girl in a white dress, reminiscent of a scene one might associate with a Hollywood star.

There’s a buzz about the premiere on August 2nd.

At first glance, the air is filled with the familiar tunes. It seems, for a moment, the world has faded away.

“Mamma Mia!” is a lively musical comedy packed with ABBA’s timeless songs, offering an escape for everyone—even the construction workers get caught up in the “Dancing Queen” spirit.

This show has become a significant part of Broadway’s history, especially given its debut 24 years ago when New York City was reeling from the aftermath of 9/11.

David Grindrod, the UK casting director who was also part of the Broadway production along with Tara Rubin, recalls that harrowing day.

“The cast was in the middle of a rehearsal, and suddenly we had to ask, ‘What’s happening?'” he shared. “We were all stunned.”

After a brief pause, Mayor Rudy Giuliani encouraged producer Judy Kramer to move forward.

“I wondered at one point if we should cancel,” Grindrod reflected. “But that thought quickly passed. Everyone on the team felt we needed to perform—for New York and for ourselves.”

And they did.

Today, no one links the show to that tragic time, though there was risk involved. Initially, musicals like this—especially jukebox formats with original plots—felt like a gamble.

When Grindrod was brought on board by Kramer in 1999 for the London casting, he thought, “Why hasn’t anyone done this before?”

The clever story penned by Katherine Johnson revolves around a young bride on a Greek island who, wanting her estranged father to give her away, invites her mother’s three past lovers to figure out who her real dad might be. It’s a delightful mess, really—and quintessentially ABBA.

There were challenges, too.

At the time, most London musicals were from names like Andrew Lloyd Webber, and they often had minimal dialogue. The actors were expected to deliver songs with little context.

“They weren’t really asked to talk in auditions back then!” the casting director noted.

It’s hard to believe now, but ABBA’s popularity in the U.S. wasn’t what it is today. Their only number-one hit was “Dancing Queen” in 1977.

That didn’t matter, though. They seized the opportunity with “Mamma Mia!”

London embraced it, and concerns about its reception in America were unfounded. The national tour was a hit.

However, then came 9/11. Would the city, still healing, flock to this show with its disco vibes?

Ultimately, the answer was yes.

The curtain rose for “Mamma Mia!” on October 5th, 2001, and the audience cheered.

“It was incredibly thrilling,” Grindrod recalled. “There was so much love in that room.”

Even the critics were impressed.

As Clive Burns of the Post noted, once you dive into its quirky pleasure, it’s the kind of experience that leaves a lasting impression.

The Broadway production quickly recouped its $10 million investment in just 28 weeks. It was a remarkable success. After 12 years at the Winter Garden, it moved to Broadhurst for its final two years, grossing around $600 million.

Audiences expressed their gratitude for the music, laughter, and escape it provided.

“When we were the first show to open post-9/11, it felt like a sign of Broadway’s resilience after such a terrible tragedy,” Grindrod recalled.

“We were still here, and so was the theatre—it didn’t stop us.”