Billing

Requirements

You must give the authors/creators billing credits, as specified in the Production Contract, in a conspicuous manner on the first page of credits in all programs and on houseboards, displays and in all other advertising announcements of any kind.
Percentages listed indicate required type size in relation to title size.

BILLING CREDITS SAMPLES

 

A.        COMPLETE SHOW BILLING FOR USE WITH FULL PRODUCTION CREDITS.

 

You agree to bill the Play, the Authors and producers on the title page of all programs and in all advertising and publicity wherever and whenever the full production credits are given, in the manner set forth in the sample below.  Specifically, the Title and all names shown shall be accorded percentage print sizes as shown in the sample below.

 

CREDIT

 

SIZE TYPE

MAMMA MIA!

100%

 

 

MUSIC AND LYRICS BY

 

22.5%

BENNY ANDERSSON

BJÖRN  ULVAEUS

 

50%

 

AND SOME SONGS WITH STIG ANDERSON

 

 

22.5%

22.5% {BOOK BY  CATHERINE JOHNSON} 35%

 

 

Note size difference within these lines

 

 

22.5% {ORIGINALLY CONCEIVED BY JUDY CRAYMER} 35%

 

MAMMA MIA! WAS ORIGINALLY PRODUCED IN LONDON
BY JUDY CRAYMER, RICHARD EAST AND BJÖRN ULVAEUS

FOR LITTLESTAR IN ASSOCIATION WITH UNIVERSAL.

 

 

22.5%

 

 

ADDITIONAL MATERIAL

& ARRANGEMENTS

 

22.5%

MARTIN KOCH

35%

 

 

 

MUSIC PUBLISHED BY UNIVERSAL MUSIC PUBLISHING GROUP AND *
EMI GROVE PARK MUSIC INC. AND EMI WATERFORD MUSIC INC.

 

 

22.5%

 

 

*NOTE: For productions outside of the United States and Canada, this line should read as follows:

 

         MUSIC PUBLISHED BY UNIVERSAL MUSIC PUBLISHING GROUP                                  22.5%

 

B.         AUTHOR BILLING WITH TITLE TREATMENT

 

In any advertisement, paid publicity, display or houseboard in which full production credits are not given, but where any other person is billed, billing shall be as set forth below. Specifically, the title of the play and all names shown shall be accorded percentage print sizes as shown below.

 

 

CREDIT
 

SIZE TYPE

MAMMA MIA!

 

100%

 

 

MUSIC AND LYRICS BY

 

22.5%

BENNY ANDERSSON

BJÖRN  ULVAEUS

50%

 

AND SOME SONGS WITH STIG ANDERSON

 

 

22.5%

22.5% {BOOK BY  CATHERINE JOHNSON} 35%

 

22.5% {ORIGINALLY CONCEIVED BY JUDY CRAYMER} 35%

Note size difference within these lines

 

 

C.        SHORTENED BILLING.

 

In advertisements of 1/4 page size or less, or in any other advertising where only the title of the play, performance dates and venue are provided and no other person receives credit, the licensee may use the title treatment only as follows:

 

MAMMA MIA!

Or

MAMMA MIA!

The videotaping or other video or audio recording of this production is strictly prohibited

Included Materials

ItemQuantity Included
AUDIO SAMPLER1
KEYBOARD1 - CONDUCTOR SCORE1
LIBRETTO30
LIBRETTO/VOCAL BOOK30
PIANO VOCAL SCORE1

Production Resources

Resource
KEYBOARD PATCH SOLUTIONS
LOGO PACK
REFERENCE RECORDING

STANDARD ORCHESTRATION

InstrumentationDoubling
BASS
DRUMS
GUITAR
GUITAR 2
KEYBOARD 2
KEYBOARD 3
KEYBOARD 4
PERCUSSION
Mamma Mia!
ABBA's hits tell the hilarious story of a teen's search for her birth father on a Greek island paradise.
Show Essentials
13
Roles
+ Ensemble
PG
Rated
2
Acts
Casting

Casting

Cast Size: Large 21 And Up
Cast Type: Ensemble Cast
Dance Requirements: Heavy

Show History

Inspiration

Mamma Mia!, with a book by Catherine Johnson and music and lyrics from Benny Andersson and Bjrn Ulvaeus, is a musical based around the music from the band, ABBA, of which, Andersson and Ulvaeus were both members.  Active between 1972 and 1982, the Swedish pop/dance group is one of the most popular international groups of all time, with hits that spanned the charts of Europe, North America and Australia.

The musical came to fruition under the idea of theatre producer, Judy Craymer.  After seeing the 1983 musical, Chess, for which, Andersson and Ulvaeus also wrote the music, she asked to sit down with them and talk about future plans.  When she heard their song "The Winner Takes It All," she realized the theatrical potential of the group's pop songs.  Although the composers were initially not enthusiastic about the idea, they commissioned her to go forward with their work.  Craymer then recruited playwright, Catherine Johnson, to write the book and took on Phyllida Lloyd as the director of the original London production.

Mamma Mia! premiered in the West End at the Prince Edward Theatre on April 6, 1999.  It has been extremely successful and underwent two different location transfers (to the Prince of Wales Theatre in June 2004 and to the Novello Theatre in September 2012); it continues to play to full houses to this day.  Toronto was the first city to produce the show after premiering in London, with a production that ran from May 22, 2000, to May 22, 2005.

The musical made its debut in the United States at the Orpheum Theatre in San Francisco, California, on November 17, 2000.  On February 26, 2001, the production moved to the Shubert Theatre in Los Angeles and then to the Cadillac Palace Theatre in Chicago on May 13 of the same year.  Mamma Mia! moved further east to open on Broadway at the Winter Garden Theatre on October 18, 2001, and then transferred to the Broadhurst Theatre on November 2, 2013.  It remained one of the most popular shows on the Great White Way throughout its almost fifteen-year run.

The first North American tour started in Providence, Rhode Island, in February 2002, and then premiered in Las Vegas at the Mandelay Bay in February 2003.

Mamma Mia! has been performed in more than 40 countries and across five continents, including: Belgium, Greece, Japan, New Zealand, South Africa and the United Arab Emirates.  The first non-English production started in Hamburg, Germany, on November 3, 2002.  Many international tours have run over the past several years, but the current one started off in Dublin on September 9, 2004.

Cultural Influence

  • Mamma Mia! has grossed $2 billion worldwide since premiering in 1999.
  • Over 54 million people have seen the musical in 40 different countries.
  • It is said that, on any given day, there are at least seven performances of the musical being performed around the world.
  • At the time of this writing, the Broadway production was ranked the tenth-longest running musical in Broadway history.
  • Mamma Mia! has brought a renaissance to ABBA's music. Following the London premiere in 1999, the album, ABBA Gold, topped charts in the United Kingdom for the second time in fifteen years.
  • The London production of the musical was one of the first times that three women (producer, Judy Craymer; book writer, Catherine Johnson; and director, Phyllida Lloyd) collaborated as a creative team. Its immense commercial success has been significant to the image of female creators in musical theatre.
  • In June 2005, the Las Vegas production played its 1000th performance, becoming the longest-running West End or Broadway musical to ever play in Vegas.
  • Mamma Mia! has premiered in more cities faster than any musical in history.
  • Mamma Mia! has been translated into fourteen languages, including: German, Japanese, Spanish, Danish, French, and Chinese.
  • The show is the first major musical to play concurrently in three German cities, with productions in Hamburg, Stuttgart and Essen all running in 2007.
  • The Chinese premiere at the Shanghai Grand Theatre on July 11, 2011, was the first time a contemporary Western musical was presented in Chinese in Shanghai.
  • A film adaptation of Mamma Mia! was released in July 2008. Featuring much of the creative team from the original London production, it starred Meryl Streep, Amanda Seyfried and Pierce Brosnan.

Critical Reaction

"Mamma Mia! flies as tuneful as a lark and as smart as a cuckoo. It offers one of those nights when you sit back and let a nutty kind of joy just sweep over you.... The true hero is British playwright Catherine Johnson, who took all these songs and cobbled a cohesive book around them. Genius."
– The New York Post

"A  triumph, passionate and sharp.... The beauty of Judy Craymer's original idea and the irresistibility of Johnson's book lie in the mutual enrichment between the characters and the Abba songs. Ulvaeus's eloquent lyricism can slide by unnoticed behind Benny Andersson's infectious musical arrangements, but Johnson simply read the songs' words in order to write their innate emotional dramas seamlessly into the narrative songs and story help each other."
– The Telegraph

"The show is pleasing as it passes and it certainly features a generous swath of songs that caught the world's fancy during the '70s and '80s."
– Theatermania

"The theatrical equivalent of comfort food."
– The New York Times

"A certified hit.... A giddy guilty pleasure."
– Variety

Drama Desk Award

2002 - Outstanding Actress in a Muscial, Nominee (Louise Pitre)
2002 - Outstanding Featured Actress in a Musical, Nominee (Karen Mason)
2002 - Outstanding Featured Actress in a Musical, Nominee (Judy Kaye)

Outer Critics Circle Award

2002 - Outstanding Actress in a Musical, Nominee (Louise Pitre)
2002 - Outstanding New Broadway Musical, Nominee (Mamma Mia!)

Tony® Award

2002 - Best Actress in a Muscial, Nominee (Louise Pitre)
2002 - Best Book Of A Musical, Nominee (Catherine Johnson)
2002 - Best Featured Actress in a Musical, Nominee (Judy Kaye)
2002 - Best New Musical, Nominee (Mamma Mia!)
2002 - Best Orchestrations, Nominee (Martin Koch, Björn Ulvaeus, and Benny Andersson)

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