Whenever this reviewer sees a production of Dreamgirls, currently being staged by Milwaukee Repertory Theater, one of the many images that lingers is the sight of three beautiful young women onstage. They are wearing elegant, matching gowns and coiffed wigs. The trio moves and croons in unison as they sing, “we’re your dream girls.” In essence, that image sums up the entire show. Dreamgirls is all about dreams, and the price of fame as showbiz dreams come true.
That price for stardom is deeply etched into a magnificent production. Director Mark Clements, the Milwaukee Rep’s artistic director, has as keen an eye as any Broadway producer for knowing what makes a show “work.” And this one certainly does. It creates sparkle and magic interspersed with moments of heartbreak and longing. It’s a not-to-be missed experience for anyone who loves musical theater or appreciates Dreamgirls’s tribute to “girl groups” in the 1960s-80s. This is the Rep’s best musical to come along in some time, eclipsing last year’s The Color Purple (which also was excellent). It almost equals the Rep’s 2013 production of Ragtime, which (to this reviewer) remains the standard bearer of excellence in local musical theater. However, many Rep patrons may rightly argue that Dreamgirls is as good as, or even better than, Ragtime. Perhaps it’s a draw. Although the plot of Dreamgirls is a thinly veiled biography of Diana Ross and The Supremes, it also pays homage to the Marvelettes, The Shangri-Las, the Chiffons, and Martha and the Vandellas, among others. Race discrimination and the much-needed acceptance by white audiences are among the show’s central themes, and this production nails it. A popular young R&B singer, Jimmy Early (a composite of James Brown and Little Richard) complains of being assigned “watered-down material” for the enjoyment of white audiences. Eventually, he cannot contain his “soul.” He ultimately breaks into a sexually charged routine—peppered by occasional profanity—that is a joy to watch. Jimmy Early also is notable as the first established performer to notice “the Dreamettes,” a trio that has shown up from Chicago to appear in a talent show. Jimmy’s agent offers them a contract to provide back-up during his performances. Young Effie, the group’s leader, at first acts insulted by this offer. She wants to move directly to showstopper status. Curtis, a sleazy but effective music promoter, sees an opportunity for himself as well as the girl trio. He also knows how to work his way into a girl’s heart. Effie soon relents. This scene, which illustrates the importance of being in the right place at the right time, is one of many throughout the show that focus on the mercurial nature of show business. It is ironic that actor Jennifer Holliday, who played Effie in the original Broadway production, initially left the show before it opened. She refused to return unless Effie’s role became more prominently featured. Michael Bennett’s careful nudging convinced her to return to the show, her performance won a Tony Award and launched Holliday as a major star. The original Broadway production won six Tony Awards, including those for Best Book of a Musical, Best Actor, Best Featured Actor and Best Choreography. Ever since Holliday returned to Dreamgirls, the actress who plays Effie carries the show (or not). In the Milwaukee Rep production, powerhouse singer and actress Nova Y. Payton more than fits the bill as Effie. Seeing her perform onstage is reason enough for audiences to pack the Milwaukee Rep. Her solo numbers begin with the unforgettable, “(And I’m Telling You) I’m Not Going,” which closes Act I. By the opening of Act II, the jobless, cash-poor Effie has become far more humble (“I Am Changing”). In order to provide for her child, she must overcome her former, diva-esque reputation. Still, she cannot even get a small club owner to hire her. However, her voice still packs a wallop. Effie soon begins her climb to the top as a solo artist. Her victory is soon tarnished by the efforts of Curtis (now wed to Deena, the character which most closely resembles Diana Ross). Without telling Deena, Curtis uses payola to derail Effie’s rise up the recording charts with her song (“One Night Only”). When Deena, now an old hand at showbiz realities, learns of Curtis’ illegal and immoral deeds, it even shocks her. She promptly divorces Curtis and makes up with Effie, once her best childhood friend. It is impossible to praise this production without mentioning the strong contribution of costumes, lights, sets and the orchestra. The Dreams’ costumes begin simply, looking like the handmade dresses they are supposed to be. The group’s rise to fame is echoed in successively more elaborate, elegant costumes that eventually rival a fashion runway show. The minimal sets are nimbly spun around so the audience must constantly reacquaint itself with their perspective (either front of house or backstage). Integrated with the outstanding sets is a lighting design that often brings a new dimension to the scenes. The onstage orchestra – an ever-present reminder of how music dominates Dreamgirls--supports the singers without overwhelming them. The 25-member cast is smartly put through its paces by choreographer Stephen Mear. He keeps things moving with an approach that is appropriately splashy and eye-catching without appearing stagey. The production numbers all earn a “wow” reaction. If Effie is the soul of Dreamgirls, an outstanding performance by male performer Jimmy Early (Cedric Neal) is the show’s sexually charged lower half. Early, who is never too busy to flirt with any lovely pair of legs that walks by, channels this sexual tension into his performances. Neal becomes hysterically funny to watch as he channels the darker side of his music (beautifully shown in “Steppin’ to the Bad Side”). Neal also earns credit for directly involving the audience in a way rarely seen within the Quadracci Powerhouse. As a result, the show strongly connects with its audience. This reviewer has seen plenty of standing ovations, but this is the first one that began long before the curtain call even started. Director Mark Clements has created a show that deserves to be sold-out for every performance. For Milwaukee’s sake, lets hope it is.
