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Season Reviews: Dreamgirls

Gateway's 'Dreamgirls' Soars On Its Merits

BY LEE DAVIS

Jul 19, 2007

Why on earth, when a blockbuster movie version of “Dreamgirls” is still making the DVD circuit, would anyone revive the Michael Bennett stage version from whence the film came? The only possible reason would be if said revival could have the pizzazz, the punch, and the rocking thrill that the Gateway Theater has packed into its current Patchogue extravaganza.

The Gateway’s resident genius casting director Robin Jay Allan has assembled a dynamite and dynamic cast, and the producers have placed musical director Darren Ledbetter in the orchestra pit to generate enough energy to power a 747 on takeoff. Doug Harry has lit Kelly Tighe’s elementary, signature towers set with a wild vibrancy; Marianne Dominy has dressed the huge cast in signature stage togs of the ’60s and ’70s (including some 80 wigs of all sorts and altitudes) and, perhaps best of all, director/choreographer John Dietrich has re-created the Michael Bennett spirit and breathless pace of the original.

It’s quite a feat, for this thinly veiled musical based, by book and lyric writer Ton Eyen, upon the birth and growth and turmoil of Diana Ross and the Supremes, is more a concert than a show. Its book, half sung and half said, is delivered with the same breathless amplification as the multiple musical numbers, and the show depends for its heart upon the acting and singing skills of its stars. For those for whom history makes a difference, the character of Deena Jones is based upon Diana Ross; that of Lorell Robinson on Mary Wilson; that of Effie White on Florence Ballard; and James Early, well, probably on James Brown.

The book does save the Effie White/ Florence Ballard character from the fate of the original. Ms Ballard, replaced as the lead singer in the Supremes by Diana Ross, spiraled downward into alcoholism and poverty, dying of a heart attack at the age of 32. In “Dreamgirls,” Effie/Florence experiences a comeback and gets her just desserts and a grand reunion in time for the finale.

And speaking of just desserts, the role of Effie in the original won Jennifer Holliday a Tony, (one of six that “Dreamgirls” garnered) a number one recording on the Billboard charts for 1982 of “I’m Not Going,” and huge popular acclaim. It’s a plum role, and in the Gateway production, Nikki Stephenson takes it and soars with it. Her delivery of “I’m Not Going,” coming after she’s rejected from The Dreams, is emotionally powerful enough to tear the heart out of the most steely of cynics in the audience. And in Act II, full of fire and belief, she raises the roof and rattles the rafters with a supercharged “I Am Changing.”

It’s a star turn in a cast that’s fairly detonating with talent. Jenelle Lynn Randall makes of Lorrell Robinson a delightfully dizzy second member of the Dreams, who has her turn in Act II’s delirious “One Night Only.” And Ashley Betton is a lovely Deena Jones, blessed with the beauty and stature of a Diana Ross.

The men are equally impressive. Eric McMillan-McCall is a mountainous, villainous, yet eternally impressive Curtis Taylor, the man who manipulates the Dreams to fame for them and him. Mr. McMillan-McCall is a commanding, not-to-be-denied actor. Less flamboyant, but more touching are Tyrick Wiltez Jones as C.C., the young composer who gives the Dreams their musical underpinnings, and Regge Allan Bruce as Marty, the kind and solid supporter of Effie.

Separate plaudits must go to Kingsley Leggs, as Jimmy Early, the flamboyant and eventually passed over (by Curtis) singer and lover of Lorelle. An engaging comic actor and a big stage presence, he powers the early showstopper, “Steppin’ to the Bad Side,” and is touching in his desperate attempts to remain important in Act II’s “Ain’t No Party.”

Mix in, then, with star performances, the wild and wonderful production numbers, set to Henry Krieger’s adequate music. Director/choreographer John Dietrich fills the stage with kaleidoscopic movement and excitement, in all of the aforementioned numbers and particularly in the “Love, Love Me Baby/ Showbiz” finale to Act One. Altogether, this “Dreamgirls” is pure theatrical excitement, from curtain to curtain, and yet another surprising and exhilarating success from the creators of theater magic at the Gateway.

“Dreamgirls” continues at the Patchogue Theatre through July 28. The box office number is 286-1133.

Review: 'Dreamgirls' at LI's Gateway Playhouse

BY STEVE PARKS

July 18, 2007

The shocker of the Oscar season last winter was "Dreamgirls." Although it won a bald statuette for "American Idol" also-ran Jennifer Hudson, the movie version of the 1981 Broadway musical failed to snag even a nomination for best picture.

Some said it was because the songs don't match the pop crackle of the Motown sound the show emulates. But this score plays deeper than that, as evidenced by this riveting Gateway Playhouse revival.

The Dreams, the musical's three-woman ensemble from Detroit, are the not so thinly veiled Supremes. Deena is Diana Ross, Lorrell is Mary Wilson, and Effie is Flo Ballard, the full-bodied, full-voiced Supreme dismissed from the trio in 1967, replaced by Cindy Birdsong. Ballard died in poverty and alcoholic dissolution nine years later.

There is no such bummer in the triumph-over-devastation "Dreamgirls." If the movie was Hudson's breakthrough, this regional showcase could be the professional introduction of another star-to-be, Nikki Stephenson.

As Effie, Stephenson displays rookie-of-the-year chops, a piercing voice with a rich undertow that submerges the 1,200-seat Patchogue Theater in ringing resonance. But this Dreamgirl also emotes. In the famous Act II closer, "I'm Not Going," Effie learns that she has not only been ousted from the group, but from her manager-lover's bed, too. She pleads and rants, draping herself around the man who's destroying her life and career. You want to look away from her shameless groveling. But you can't. And it's not Stephenson's only shining moment. When she later vows that "nothing can stop me now," we believe her, as casting director Robin Allan obviously did. And she rescues a pedestrian impersonation of a No. 1 hit, "One Night Only," one of the weaker links in the story-song score.

Nor is Stephenson alone in nailing her star turn. Kingsley Leggs as James Thunder Early swivels, shimmies and wails like a hard-working soul man (think James Brown, with Marvin Gaye and Little Richard thrown in). On "Cadillac Car" and "Steppin' to the Bad Side," he shows ambivalence for crossover appeal with unabashed soul inflections. In a dueling duet with girlfriend Lorrell (Jenelle Lynn Randall), he rubber-legs his way out of wedding-bells danger. But next to villainous Dreams manager Curtis (Erich McMillan-McCall in a role that takes aim at Motown mogul Berry Gordy), James is a teddy bear.

The 33 musical numbers, which cover everything from broken love affairs to broken record contracts, play out on a revolving set by Kelly Tighe that injects showbiz glitter on cue.

Too bad director John Dietrich doesn't appear to have enough confidence in his newcomer star. As if to demonstrate that Effie has a more powerful voice, Ashley Betton's Deena is undermiked throughout. She's barely heard over Darren Ledbetter's snappy orchestra. Let her voice and Stephenson's stand on their own merit. Diana Ross, after all, wasn't too shabby herself.

DREAMGIRLS. Musical by Henry Krieger and Tom Eyen. Gateway Playhouse at Patchogue Theater for the Performing Arts, 71 E. Main St., Patchogue, through July 28. Tickets, $37-$43; 631-286-1133, gatewayplayhouse.com. Seen Friday night.

review: dreamgirls

BY ROY BRADBROOK

Thank goodness, Gateway is back on track. After an innovative but risky ice musical and a lackluster and boring "My Way," thank goodness for Dreamgirls a show that literally sets the rafters ringing with its blend of Gospel, Soul, R&B and Motown music. Even if this is not the type of music you love best, you should go and see this show because it captures all that is good about the musical theater; great voices and acting, songs that are memorable and tuneful, lots of beautiful and talented girls in lots of beautiful costumes, well staged choreography and a sensible well constructed story line.

The story line is believable and captures the audience's attention as three young girl singers come to the Big Apple in 1962 from the Windy City determined to make their fortunes. Ashley Betton as Deena, Jenelle Lynn Randall as Lorrell and Nikki Stephenson as Effie are excellent with their singing and acting both together and individually. Even if you have recently seen the movie version that was up for Oscar honors this year, you won't be disappointed by these 'Dreams', as they slowly climb the ladder of success that has so many slippery rungs. You feel for them both in their professional and personal lives and one of the show's highlights is the heart-wrenching rendition of "I'm Not Leaving" by Nikki Stephenson at a time when both areas of her life were in ruins. This was one of the most dramatic and poignant moments on stage that left me and I suspect most of the audience, drained. It is hard to believe how she has the stamina to repeat this at each performance.

Of course all performers need an agent and they are usually portrayed, on stage at least, looking out for their own interests and being ruthless in their decision making. Eric McMillan-McCall plays Curtis in this manner. Originally, he is the savior and friend of the group who moves them up from being a backing group to a star group in their own right. Then, when Effie's performance and attitude start to deteriorate, he has no hesitation about dropping her for a new addition to the Dreams. Trisha Jeffrey as Michelle plays and sings this role exceptionally well.

When the group starts their professional careers, they back up a well-known soul singer, James Early. Kingsley Leggs, who has appeared on Broadway in The Color Purple and Miss Saigon, almost steals the show as Early, with some great acting and showing to the full his wonderful voice. James Early's professional troubles are another aspect of the world of show business as this talented performer of soul music is persuaded that the times are changing and that he needs to change his style or become a has been. He reluctantly accepts but eventually rebels on stage one night. He abandons his balladic song "I Meant You No Harm" in the middle of his act and declares to the audience that he is fed up with singing "sad songs." He then launches into a wild rap sequence, moons the audience and leaves the stage. Naturally after this incident his career is finished.

I would like to have space to mention the entire large and talented cast. All of these performers would not let a Broadway show down and their enthusiasm and obvious enjoyment of their roles is commendable.

The orchestra provides good backing but there needs to be a better balance so that they do not drown out the actors, especially in the spoken and recitative passages of the show. The sets work well, although I am yet to be convinced fully by the sliding panels that seem to be the vogue this season. They are slick but rather minimalist.

The director and choreographer of the show is John Dietrich who for four years recently had this role for the Radio City Music Hall Christmas Spectacular, so you would expect precision, even on the opening night and the cast delivered this extremely well.

This is a great show for all ages and you may come away feeling some decibel overload but at least it will be from songs such as the title song "Dreamgirls" or "Cadillac Car" or "One Night Only," bringing back memories of a time in America that eventually changed the whole world of popular music as Motown took over.

Dreamgirls Was Fabulous!

By Christa Corelli

Wednesday, July 18, 2007

July 11th through the 28th, Gateway Playhouse is giving the public the opportunity to see Dreamgirls live on their stage.

It is truly an understatement to say that Dreamgirls was fabulous!

Dreamgirls is the story of a Supremes-style girl group singing their way to the top. You witness them struggle with their success, finding it, losing it, and regaining it on stage and in their personal lives. This great American musical of the 80s was nominated for eleven Tony Awards and won six including one for Best Book.

There is no doubt that this show is amazing, but it is the remarkable performance of the Gateway Playhouse cast that has blown me away. The three original Dreamgirls, Effie, played by Nikki Stephenson, Deena, played by Ashley Betton, and Lorell, played by Jenelle Lynn Randall joined later in the show by a fourth Dreamgirl, Michelle, played by Trisha Jeffrey had such powerful voices that were complemented perfectly by the men in the show. Erich McMillan-McCall who played Curtis Taylor had an equally powerful voice and delivered such a passionate and grabbing performance that the audience feels a part of the show. Tyrick Wiltez Jones conveyed the part of C.C., Effie’s brother and songwriter for the Dreamgirls so realistically that the audience fell in love with him. I know I did. Each member of the cast complemented one another perfectly. The lighting design was staggering, and the transitions from scene to scene were virtually un-noticeable. The sets were astonishing and overall the show was phenomenal. If I was a new patron to the theatre, this is the show that would keep me coming back to see more.

I am pleased to give this show 3 ½ stars (out of four).

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