OGUNQUIT — The night came — and stayed — alive with music and neon-inflected flair at the Ogunquit Playhouse on Friday, as the theater’s 85th anniversary season kicked off with its production of the ABBA-inspired, “Mamma Mia!”

The jukebox musical, written by British playwright Catherine Johnson and based on ABBA songs composed by Benny Andersson and Björn Ulvaeus, opened to a nearly-packed house at its official opening, featuring press, Friday evening.

The musical takes the best beats of 1970’s disco and weaves it into a tale of love, identity and finding oneself, centering on mother-daughter duo Donna and Sophie, as Sophie eagerly tries to identify her father just days before she gets married.

Sophie invites three men to her wedding — with her mother left in the dark until the last minute — in hopes of doing so.

While the show proves itself to be a spectacle, it’s the cast and ensemble who drive the musical.

Jodie Langel makes her Ogunquit Playhouse debut as Donna, the former club-kid-turned-mother who runs the hotel on the Greek island where her daughter, Sophie (Briana Rapa) plans to be wed the following day. Langel seems apprehensive at first — with a voice that could blow down walls, but with limited choreography.

One realizes this is intentional, as Langel’s character comes into her own as late-1970s Donna during “Super Trouper,” quick on her feet and confident in herself. And why wouldn’t she be? Having starred as Cosette in “Les Miserables” and as Grizabella in “CATS,” her résumé  is a testament to her chops as an actor, singer and dancer. In essence, she becomes a true “Dancing Queen.”

Also strong is Rapa, whose extensive use of facial expressions draw attention from the crowd. She’s quirky and talented, with a voice that empitomizes the youthful optimism of the lovestruck 20-year-old whom she plays. Moreover, her character shows considerable growth throughout the play, no easy task for a young actor. Then again, her experience touring as Belle in Disney’s “Beauty and the Beast” likely helped develop this skillset.

Other standouts include Angie Schworer as Aunt Tanya, the fun-loving socialite who knows how to captivate a man’s attention, and Kate Chapman as Rosie, the single lady who wouldn’t have it any other way. Their vocal chops are undeniable, but their tag-team comic play is even better.

Starring also is the ensemble, whose intricate dance, fast-paced and plentiful dance moves drive not only the music, but the play’s action as well. Kudos are in order to Richard J. Hinds, choreographer, for a job well done.

It’s hard to pick a flaw in a show that thrives off 1970’s disco beats, flashing colored lights and pure sex appeal, but one can be seen in Mike Heslin, who plays Sky, Sophie’s love interest and groom to be. While he certainly oozes sex appeal — a model as well as an actor, his abs are on display for the majority of the 2 ½ hour show — his acting isn’t as believable as the remainder of the cast. His singing tone, however, is strong and up to snuff with the best of them.

But the three other bachelors compensate: Patrick Cassidy as Sam is romantic, yet funny; David Engel as Harry is tender and compassionate; and Fred Inkley as Bill is just plain hilarious.

It’s impossible to ignore a set as intricately-designed and visually appealing as the one used for “Mamma Mia!” With moveable stone walls, small windows used by the cast for entrances and exits and a rotating boat dock stationed in the middle of the stage, it’s a marvel to look at.

Set Designer Adam Koch and his team have outdone themselves at transforming the black wooden stage into a veritable Greek island within the proscenium — which, by the way, lights up in neon, very much resembling a disco dance floor.

Costuming brings the experience to life. The mundane, everyday clothes of Donna and Sophie and the high-class, chic Tonya dons throughout the play highlight the differences in class between the three friends. Vibrant jumpsuits and swim trunks add flair and characterization, in addition to a glimpse into the past.

Despite it’s inherently fun nature, “Mamma Mia!” isn’t all fun and games. The show highlights tough issues, particularly Sophie’s struggles with identity, and Donna’s grappling with the demons of her past. These are resolved in the end, as the audience learns, but their importance should not be downgraded. In fact, those at Ogunquit should be commended for bringing these issues to the forefront in Maine.

For those who haven’t seen the show, I’ll spare you the ending scene. But I’ll add that, in the end, “Mamma Mia!” is a reminder that it’s not your past that defines you, but rather your future.

“Mamma Mia!” runs through July 1 at the Ogunquit Playhouse, 10 Main St., (U.S. Route 1), Ogunquit. For tickets, call 646-5511 or visit ogunquitplayhouse.org.

 — Staff Writer Alan Bennett can be contacted at 282-1535, ext. 329 or abennett@journaltribune.com.