You" are both included in this film. Awards and nominations Original West End production Original Broadway production Original North American tour Response Box office and business On May 15, 2005, Mamma Mia! surpassed the original Broadway runs of The Sound of Music, The King and I, and Damn Yankees with 1,500 performances. On March 6, 2014, it surpassed Rent to become the 8th longest-running Broadway musical and 9th longest-running show of all time with 5,124 performances, then surpassed Beauty and the Beast's 5,462 performances that same year, on December 14, to become Broadway's 7th longest-running musical and 8th longest-running show. The Broadway run ended on September 12, 2015, with its 5,758th performance, and was passed two years later (August 16, 2017) by Wicked to move one spot down in the list of longest-running Broadway shows. When Mamma Mia! opened in Russia, it received a very positive response. As of January 2008, Mamma Mia! became the longest daily running show in the history of Russian theatre. Thematic analysisMamma Mia! does not only heighten a nostalgic and emotional reactions to the ABBA fans, it has also been celebrated for its feminist overtones. The musical features strong female protagonists living in a strong female-power community. The theme of single motherhood breaks the family stereotype of a child being raised by both parents by showing a different perspective of a family raised single-handedly by a mother, to show that there can still be happiness and love. Having Donna, her two good friends and her daughter, Sophie as the main strong female characters of the musical, it can be seen as an empowerment for women as it celebrates and caters to the rise in liberation of female in the society, female sexuality, refuses to shame Donna for her promiscuity, and because it asserts that women should prioritise following their goals and enjoying their youths over marriage. It also celebrates female friendship, and undermines the importance of fathers in women's lives, prioritising self-actualisation and the role of the mother instead. Librettist Catherine Johnson manages to express these themes through her transformation of ABBA's music, as she turns these somewhat stereotypical songs into empowering ones by having characters of different genders sing them. See also Abbacadabra, another musical based on the songs of ABBA References Further reading George Rodosthenous: Mamma Mia! and the Aesthetics of the Twenty-First-Century Jukebox Musical. In: Robert Gordon (ed.), Olaf Jubin (ed.): The