For around three years CAEG had negotiated with the UK’s Littlestar Corporation, owner of the copyright to Mamma Mia!. Littlestar set detailed and demanding requirements in the final agreement, even stipulating specifications for the toe rings of actresses and the size of the nails to be used in stage construction. The Chinese rendering of the original English script was required to be translated back into English by linguists and recorded for analysis. Finally, Bjorn Ulvaeus, composer of the ABBA songs on which Mamma Mia! is based, had the ultimate say in ensuring there were no misinterpretations of the original score’s meaning and melody. This was all done to ensure a true representation of the original work.
“The creators of the Chinese Mamma Mia! aim to tap into the positive energy of Chinese audiences,” remarked Zhou Zhiqiang, president of the National Theater of China (NTC). According to Zhou, the concept of putting the aesthetic involvement of the audience first is fundamental to creating an enjoyable and rewarding musical experience. Casting Troubles
Audiences of Mamma Mia! in China see two actresses alternate in playing the heroine “Mamma.” One is Tian Shui, an experienced actress and also deputy general manager of the Shanghai Dramatic Arts Center. The other is Ying Zi, a musical specialist who has performed on Broadway. Whilst both have extensive stage experience, their singing and acting abilities are regarded as not quite being at the level required of top-tier performers on the international stage.
Nationwide auditions for the Chinese cast followed international best practices, with a British creative team making the final casting decisions. Auditioning was by no means smooth sailing, however, and there was a dearth of eligible candidates for some roles. In one instance it was not until the very last minute that a suitable actress for the role of “daughter” was found. Zhang Fangyu, from Taiwan, was chosen for her “natural and naive smile.”
It was only nine years ago that the Shanghai Conservatory of Music established its musical department, the first of its kind in China. This was soon followed by the introduction of musical programs at the Shanghai Academy of Drama, the Beijing Dance Academy and the Central Academy of Drama. While the estimated number of trained musical specialists in China is believed to exceed 1,000, many have changed professions, in part to pursue more stable, traditional career paths.
The cast of Mamma Mia! has gone through a rigorous rehearsal schedule, during which several cast members were forced out of the production owing to a lack of commitment to the process, and as a result several understudies were required on short notice to commit to multiple roles. After 50 days of intense training and a lot of blood, sweat and tears, Director Paul Garrington was quoted as saying that he was satisfied with the cast and that they had realized their potential. He revealed his initial skepticism as to whether the cast could adapt to this new style of performance, but that this skepticism proved unfounded.
Aside from casting issues, management and production links are also a crucial part of bringing a show to the stage. “We encountered a lack of technical and managerial talent for musicals on the Chinese mainland,” says Tian Yuan, producer of Mamma Mia! China and general manager of United Asia Live Entertainment. She notes that an eligible candidate for the post of stage director finally emerged in Taiwan after half a year of searching.
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