The legendary Broadway show Dreamgirls took a while to arrive in the UK. 37 years in fact. However we British theatre goers are a patient lot, and with its popularity buoyed by a wonderful movie adaptation in 2006, finally the Dreamgirls conquered London and are now bringing their sequinned gowns to theatres nationwide. I finally caught up with the tour at the Alexandra Theatre, Birmingham where a packed house waited patiently for a delayed curtain up, with the lead role quickly being replaced by the understudy for reasons not explained.
Dreamgirls is loosely based on the story of Diana Ross and the Supremes. The Dreamettes - Effie, Deena and Lorell - enter a talent competition, they don't win but are invited to become backing singers for R & B star Jimmy "Thunder" Early. Naturally this is all well and good but former car salesman Curtis Taylor Jnr. becomes the Dreamettes manager, and eventually repackaged as the Dreams they embark on their own successful hit making career. But behind the scenes things are working out so well. Curtis is seeing Effie, but when Deena and Curtis get together Effie is furious and proves herself to be unreliable. The group have no choice but to permanently replace Effie.
And so the story unfolds. The production currently touring the UK has a lot to commend it. Tim Hartley's set and costumes superbly conjure up the 1960s and 70s, as the career of the Dreams is played out. In the central roles Nicole Louise Lewis, Natalie Kassanga and Paige Peddie lead an outstanding black cast. In the role of Effie White, Lewis power bombs her way through the score, and the iconic "And I Am Telling You I'm Not Going" brings the audience to its feet, almost unheard of mid-show. Kassanga and Peddie provide solid vocals and fill out the drama, but its really Effie's show, its written to showcase her. Brandon Lee Sears is a stand out as the groin thrusting Jimmy Early, his high energy, physically skilled take on the character makes sure that this is not a total walkover by the female leads. Similarly Christopher Gopaul delivers a Curtis who is brutal in his business dealings and also with his behaviour towards Effie and Deena.
The score by Tom Eyen and Henry Kreiger sounds just as as fresh today as it did more than three decades ago. "One Night Only" has become a standard for many singers over the years, but it really is at its best when in the middle of this musical as both Effie and her former colleagues in the Dreams both release single versions, only for Curtis to use his money and influence to block Effie's version. The stage version has adopted the song "Listen" written for Beyonce Knowles in the movie, and is here transformed into a powerful duet. Just two examples of a rich score, which remains one of the great Broadway musicals.
Director and Choreographer Casey Nicholaw has balanced the musical numbers with the smaller, but equally powerful emotional drama at the heart of the show. The audience is rooting for Effie throughout, and when she returns at the end of the show for a final performance with the Dreams there is not a single person in the auditorium who isn't thrilled that she has seemingly come through tough times and is unbeaten. Its a mirror for us all.
The only reservation about the evening was the sound. There were many times in the show where the musicians - and indeed the dialogue - just needed ramping up. I was sitting five rows back and was struggling to hear. Goodness knows how it sounded much further back. The first time I have encountered this for a major musical. I thought it might just be me, but talking to others it seems I was not the only one. Very strange if this was a deliberate sound design choice.
But that aside, Dreamgirls lives up to its massive reputation. We undoubtedly haven't seen the last of Effie, Deena and Lorell. The UK may have had a long wait for The Dreams, but I would say that they are here to stay.
Rob Cope
Curtain call at the Alexandra Theatre
