Everyone has them. Mine are trashy near-future and alternate history Sci Fi novels from the 60s and 70s, the movie Doc Hollywood, and bacon; those guilty pleasures I would never admit to anyone for fear of being mocked. I have a new one for my list: Mamma Mia!, the Abba musical by Benny Andersson and Bjorn Ulvaeus. I try to sustain an image of erudition, of deep thought, and of pretentious critical tastes, but every once in awhile, my mind's sweet tooth craves brightly colored cotton candy. It got it's fill watching this cute, predictable, totally fun-for-it's-own-sake musical. My intellect may not have been moved one iota, but I'm embarrassed to admit that won't stop me from buying the OBCR.

The musical exists ostensibly as the story of young Sophie, marrying a hunk named Sky on a beautiful Greek island, who decides to invite to the wedding the three men that her mother, Donna, has identified in her diary as possibly being her father during those wild times in the age of Disco: original love Sam, who left to return to his fiancé in the U.S. and flings Crocodile Hunter-wannabe Bill Austin and Brit headbanger-turned-banker Harry Bright. What the musical really exists for, though, is to find clever ways to slip Abba songs into this wisp of a script. A quick check of the characters reveals no "Fernando," and the song list is only given in alphabetical order. It's up to the audience to figure based on the scene where such songs as "Money, Money, Money," "Lay All Your Love On Me," "The Winner Takes it All," "S.O.S.," "Dancing Queen," and, of course, the titled "Mamma Mia" will suddenly pop up. With a passing knowledge of the songs, I was only able to guess when they were about to begin less than a third of the time. Still, it's impressive how author Catherine Johnson manages to shoehorn twenty-two Abba hits and B-siders (what the pre-CD generation labeled songs that were not quite hits and wound up on the flip side of the LP) into an embarrassingly engaging evening.

The greatest reason for that success, I imagine, can be laid at the feet of the two divas and the wonderful supporting cast who sell, sell, sell this evening. As daughter Sophie, Kristie Mardsen is a spunky little belter who manages to project a surprising soprano from her diminutive self. Playing hot mamma Donna, Ms. Mardsen is countered by husky-voiced Monique Lund, who can easily match her in the belting department. The two are wonderful actors and dancers who use their excellent voices and impressive stage presence to keep Phyllida Lloyd's 300 horsepower pacing on the right track. Highlights of the supporting cast include the other two members of Donna's disco girl band, Tanya (a lithe, libidinous, and feisty Ellen Harvey) and Rosie (played with awkward pluck and abandon by Robin Baxter). While none of the countering three guys are quite up to the high vocal level of these four hilarious gals, Don Noble's remorseful Sam does a solid job keeping Donna off balance and singing some stirring duets. James Kall's Harry is a funny take on a before-and-after image of a rocker who's co-opted Yuppiedom, and Pearce Bunting not only looks the part of an Outback wanderer, but does a hilarious turn with Ms. Baxter in the second act.

The ensemble is headed by Chris Bolan as Sophie's intended, Sky, and Gerard Salvador as the feisty party animal Pepper. It's with this group especially that Anthony Van Laast's disco-infused-though-appropriately-modern choreography gets its best handling. Mr. Salvador seems to be running on high-test, and his attempted seduction number becomes an all-out dance party that is wonderfully impressive. Ms. Lloyd's ideas for the group numbers, designed with flashiness in mind by Mark Thompson and lighting designer Howard Harrison, are witty and put into fluid motion by Mr. Van Laast. The smaller-than-average orchestra still manages to turn the Gammage into a great concert venue.

I can't impress on you enough how much I didn't want to enjoy this show, and how much I couldn't avoid it. Abba's music has always been infectious, but when sung by such a talented group and fitted into a cute little story, you can't help leaving with a sugar high.