This article was originally published on April 4, 2017
By Judy Craymer, Creative Producer
My journey as the Creative Producer of Mamma Mia! began long before a single word of the script was penned. It’s a story that traces back over 25 years to my first encounter with Björn Ulvaeus and Benny Andersson, the songwriting masterminds behind ABBA. At that time, I was working alongside Sir Tim Rice, who was collaborating with Benny and Björn on his musical, Chess. I was immediately captivated by them – these were, after all, the composers of “Dancing Queen,” arguably one of the greatest pop anthems ever created. However, it was another of their masterpieces, “The Winner Takes It All,” that sparked the initial idea for an original musical woven around their extraordinary songbook. The raw emotion and narrative within the lyrics hinted at a compelling theatrical experience, but the question was: how could this vision be brought to life on stage?
My first step was to approach Benny and Björn themselves. Understandably, they were initially hesitant, unsure of my intentions. I clarified that my concept was centered on crafting a fresh and engaging story, not a tribute act or a biographical piece about ABBA. I envisioned a truly original “book” musical. Despite my enthusiasm, they remained unconvinced.
Undeterred, I immersed myself in ABBA’s music, spending countless nights in my apartment, letting their songs fill the space. My neighbors might have questioned my sanity, but with each listening session, my conviction grew stronger. Finally, in 1995, my persistence paid off. Björn conceded, “If you can find the right writer and a compelling story, well… let’s see what happens…”
A year later, while working on a film production, a chance conversation with the director led me to Catherine Johnson. I was familiar with her reputation as a talented playwright. We met in January 1997, and soon after, I confidently announced to Björn that we had found our writer.
My brief to Catherine was clear: the original ABBA lyrics were sacrosanct and could not be altered. The story needed to be a contemporary, witty, and romantic comedy. I also pointed out that ABBA’s songs seemed to naturally divide into two generational categories: the youthful, playful tunes like “Honey, Honey” and “Dancing Queen,” and the more mature, emotionally resonant songs such as “The Winner Takes It All” and “Knowing Me, Knowing You.” This observation sparked the idea of a cross-generational love story at the heart of the musical.
By the end of 1997, Catherine had completed the first draft of the script, and I persuaded Phyllida Lloyd to join our team as director. Phyllida’s background was rooted in serious, legitimate theatre and opera, and her secret weapon was her sharp, dry wit.
It was quite unconventional, if not unprecedented, for three women to lead the creative charge. I believe this dynamic brought a unique balance and a nurturing energy to the production. Fittingly, Mamma Mia! itself features three strong female characters. Their personalities – slightly bossy, a touch chaotic, incredibly practical, and somewhat high-maintenance – are distinctly drawn. We often joke about who embodies which character in real life.
Suddenly, the time had come to leave my established career as a TV and film producer and brace myself for the exhilarating yet daunting journey of turning this dream into reality. There were funds to raise, a theatre to secure, artwork to design, ticket agents to persuade, and countless deadlines to meet. It was the summer of 1998, and we were aiming for an opening night of April 7, 1999, or we risked losing Phyllida, who had prior commitments to direct an opera in London. April 6th happened to be the anniversary of ABBA’s Eurovision Song Contest victory with “Waterloo,” 25 years earlier to the day. It felt like a promising sign.
While Björn was enthusiastic and shared the vision for the musical, Benny remained more reserved. At any point, either of them could have halted the project. It was a period of tension, as their emotional support and creative input were crucial. If they were entrusting me with their iconic songs, I was determined not to disappoint them. Benny and I made a pact that on opening night, one of us would have the right to say, “I told you so.”
With our opening date set, we still lacked a venue. We had been considering smaller theatres when, unexpectedly, the grand and prestigious Prince Edward Theatre in London’s West End became available. However, its sheer size meant a significant scaling up of the production, requiring adjustments to the cast, crew, set design, and budget. We were all holding our breath for the big night.
And so, April 6, 1999, arrived – a night forever etched in my memory: the world premiere of Mamma Mia! The audience was captivated, and one British critic famously declared, “Mamma Mia! could put Prozac out of business.”
Benny graciously conceded defeat. As the entire theatre erupted in dance, he turned to me and said, “You can say it now.” I grinned and replied, “I told you so!”
Betsy Padamonsky in the farewell tour of ‘Mamma Mia!, performing on stage in Denver, April 2017.
Our inaugural North American premiere took place in Canada, where we were initially booked for six months but ended up staying for an incredible five years. The first U.S. tour launched in 2000 at San Francisco’s Orpheum Theatre. After more than 12 years and 5,000 performances at the Winter Garden Theatre, Mamma Mia! transferred to the Broadhurst Theatre on Broadway in late 2013. By its final Broadway performance in September 2015, it had become the eighth longest-running show in Broadway history, surpassing Wicked and Beauty and the Beast. Mamma Mia! also proudly holds the title of the longest-running “jukebox musical,” a testament to the enduring appeal of its pre-existing score of ABBA hits.
And let’s not forget Mamma Mia – The Movie, which premiered globally in London on June 30, 2008. It quickly made cinematic history, becoming the highest-grossing film of all time at the UK and Irish box offices.
Seventeen exhilarating and demanding years of overseeing and coordinating the numerous productions of Mamma Mia! have taught me one invaluable lesson: the potential and possibilities remain endlessly exciting and seemingly limitless. The magic of Mamma Mia! song Mamma Mia continues to resonate with audiences worldwide.
About Judy Craymer, Guest Columnist:
Judy Craymer graduated from the Guildhall School of Music in 1977 and boasts an extensive career across theatre, film, television, and music. She began as a stage manager for prestigious venues like the Haymarket Theatre in Leicester and the Old Vic Theatre, London, and contributed to the original production of Cats for Cameron Mackintosh and the Really Useful Theatre Company. In 1984, Judy became the managing director of Three Knights Ltd, formed by Benny Andersson, Tim Rice, and Björn Ulvaeus, and served as the Executive Producer for the West End production of Chess at the Prince Edward Theatre. The spark for Mamma Mia! originated with Judy Craymer, who established Littlestar Services Limited in 1996 to produce the stage musical. She is the Creator/Producer of Mamma Mia! and has overseen 50 productions of the show in over 440 cities globally, making Mamma Mia Song Mamma Mia a truly international sensation.
Headshot of Judy Craymer, Creative Producer of Mamma Mia!, showcasing her expertise in musical theatre.
