Dreamgirls: A Slick Crowd-Pleaser

◊◊◊◊ out of five. 

One has to seriously wonder if there is anyone left to do shows in the Baltimore area who can sing, act and dance, given the amount of talent currently on display in both of Toby's Dinner Theatres, what with a 25 member cast in Titanic in Columbia, and a whopping 28 member cast in Dreamgirls, which opened this past weekend at her Baltimore location.  The two shows, budget busters both, really couldn't be more opposite.  The former is a sweeping operetta style musical with soaring anthems and character specific solo numbers.  Dreamgirls is a compact, fast-paced race through the turbulent 60's music scene, when R & B and Soul music were separate, and slowly became mainstream.  Tracing the meteoric rise of a Supremes-like girl group, the Dreams, we watch music change, styles change and ultimately the friendly girl group change.  

Ultimately, this production is as slick as a  well-produced record and as crowd-pleasing as they come.  (The rapturous audience opening night applauded several times mid-number, and were compelled to yell out to the actors, either in support or, in some cases, disgust.)  But in all cases, they were, as a whole, fully engaged and loving every minute of it.  This Dreamgirls has plenty of pleasures, even if, for this critic, they were mildly tempered by a couple of missteps. 

Directed by Toby Orenstein and David Gregory, this production literally never stops moving, though less like a movie and more like a thrillingly theatrical Vegas show.  Don't mis-read that comment – it is a pleasurable, not cheesy, thrill ride of a show.  The kind of show only folks like Ms. Orenstein, with years of experience, and Mr. Gregory, also with vast experience can pull off.  And, in typical Toby's fashion, the production values are high – Lynne Joslin's dazzling lights give us time, place and spectacle, usually simultaneously, Frank Labovitz's costumes are dead on period pieces, and as success grows for the characters, so does the sumptuousness of the costumes, particularly the closing number, with the Dreams flowing from shoulder to floor in stunning white sequins, feathers and abundant class.  The real icing on the cake here, though, is the exciting, athletic and thoroughly researched period dancing, choreographed by Tina Marie DeSimone and Ray Hatch, who have meticulously given each "group" (there are several 60's/70's singing groups portrayed in the show) very definitive moves, as befitting groups struggling to both fit in and separate themselves from the pack.  And while you will certainly recognize the tribute to the Supremes in the Dreams' moves, you won't find boring repetition or even ease.  These are complex, exhilarating dances performed by some of the best local talent today.  

Of course, all of the very best in direction and choreography is only great when executed by a company up to the demands of the task at hand.  And boy, are these folks up to it.  From the smallest to largest roles, every single person on that stage contributes largely to the success of the evening.  The core ensemble rarely leaves the stage, whether it be as a member of a number of singing groups or in bit parts as reporters, photographers, stage hands or small walk-on roles.  The amount of action that must go on behind the scenes once the first notes are hit by the live orchestra is mind-blowing to contemplate, and each member of the ensemble deserves kudos.  Among the stand outs in the ensemble are Shaunte Tabb, Alana Thomas, Takeila Fortune, JeSaira Glover, Chris Dixon, Frank Anthony, Scean Flowers, Terrance Hart and Bryan Daniels.  Darren McDonnell, Shoshana Rose and Tina Marie DeSimone provide a hearty laugh along with some not so subtle commentary as the "white trio" Dave and the Sweethearts, who have stolen an R & B hit and are climbing the charts with their decidedly Perry Como-esque version.  Stephen Galloway handles several small roles well, and does a remarkable job of "keeping things together" as the M. C. during the humongous opening scene, which features the entire company in a talent contest and no less than 5 complete numbers before things even pause! 

Leanto Jones, as the good-guy agent does some terrific acting, playing both the guy-you-don't-mess-with and the upright guy with finesse; his wry smile as he finally wins the battle at the end is satisfying for both the character and the audience.  Dayna Quincy, as Michelle, "the fourth" Dream also does nice work, blending seamlessly into the group, and playing her role with diplomacy and dignity. 

Demargio House as C.C. White, songwriter and brother to Effie, is the perfect blend of "aw shucks" innocence and loving brother, and growing man of his word.  House plays the complete journey this character takes with both the broad strokes necessary in a big scale musical, and the more complex subtleties of a boy growing into a man on his own.  This young man is definitely one to watch for in future productions around town. 

The absolutely wonderful Kevin McAllister is back on the stage with this show in a sharp departure from his role as Coalhouse in Ragtime.  Here, he is the smooth talking snake in the grass, Curtis Taylor, Jr., with the smarmy allure of a drug dealer, pedaling dreams and hopes like opium to the starved for fame girls easily enticed by his charms and puppy dog looks.  But McAllister manages to convey, and quite convincingly, I might add, the dangerous, ugly side of the man.  His comeuppance at the show's closing minutes was greeted with applause and disgusted, mocking laughter.  But the truth is, we were all as hooked by his charms as the characters are.  What a voice, too, especially in "Cadillac" and "Steppin' to the Bad Side". 

The girls at the center of the story do not disappoint, either.  The lovely Ashley Johnson is a treat a Lorrell, the madly-in-love-with-her-lead- singer youngest dreamgirl.  Her pretty smile and winning personality make Lorrell a reason to love the Dreams. **

At the performance I attended, Kelli Blackwell played the role of Effie, first made famous on Broadway by Jennifer Holliday, and in an Oscar-winning turn by Jennifer Hudson.  Long time readers may remember that Ms. Blackwell played this same role in the Winters Lane production last year, earning her an actress of the year title from this critic.  I am so thrilled to report that she is even better than ever.  Her voice is in even better shape, from a soulful chest voice to a stunning belt and octaves wide range.  That she has such a voice and is playing the role isn't the news here.  She's a natural for the part.  No, what is news here is the amazing depth of her acting which she brings to every scene and every number.  The most famous song in the show, "And I Am Telling You I'm Not Going", is a great moment for her, to be sure.  She delivers exactly what the audience wants to hear – a thrilling belt and breathtaking theatricality – and still on her own terms.  This is not an imitation of previous versions (not even her own previous version), rather it plays like a completely in the moment number. One would be surprised to hear she ever does the same thing twice.  However, it is her Act Two ballad, "I am Changing" that was the pinnacle of her performance.  Blackwell milks every note for each possible nuance and depth, and creates one of those instances where you know you are in the presence of greatness.  If there is any justice, Kelli Blackwell will become a household name. 

If there is anything to discuss in the negative about this otherwise stellar production, it is a technical issue and a couple of performances.  The musicians here are more than up to the task of playing this often complex mix of outright songs and through-sung dialogue numbers.  The quality of their musicianship is without question.  Dreamgirls is full of music that should be played loudly and with urgency, but unfortunately, the live orchestra, under the baton of Cedric Lyles, accompanied by Galen Lande's deafening sound design combine to make most of the music a loud blur.  The cast, clearly aware of the volume of their colleagues, has to compete to be heard, and they are.  True, one must concentrate to understand every word, but one shouldn't have to work that hard just hear the story.  The result is an unintended one, I am certain.  Because the level of volume rarely vacillates, neither does the energy required to compete on the part of the cast, and much of it comes across like a one note performance, even though it surely was not directed this way.  (I am certain Toby and company are addressing the sound level issues.) 

Of the entire company, this effects Mary Searcy, who plays the Diana Ross-esque Deena Jones.  By necessity, her voice is much different than Effie's, and Ms. Searcy valiantly tries to hold her own against the volume, but the effect is that it makes her voice seem somewhat thin.  I know, having seen her elsewhere, that this is not the case.  Add to that her wise choice to play Deena as somewhat quiet and reluctant to step into the spotlight, which, while wise, suffers as she tries to balance the needs of her character and her need to be heard.  That said, she is a beauty, and perfect for the girl who wants to rise to the top and do it all – singing, modeling and acting in film.  And her ability to play vulnerability is excellent, while balanced by an equally impressive harder edge.  While she may not quite reach the heights of a diva, she gets her point across, and well. 

The one true disappointment of the evening for me, and I am willing to concede that it may just be personal taste, is Ray Hatch as James "Thunder" Early, the James Brown-ish guy who starts the girls off on their quest for fame.  As expected, Hatch is delightful and way over the top (in a good way) when Early is "on stage".  His numbers are high energy and the actor/dancer is compelling to watch.  However, a good part of his character is depicted "offstage", where his lines show us a man aware of his status, but ultimately giving, generous and driven.  This is where Hatch disappoints.  There is virtually no difference between his "onstage" and "offstage" characterizations.  Nowhere is this more noticeable than in act two, which is in and of itself a problem – it is a series of individual, bitchy arias about how rotten the world is when you are famous or not famous enough.  In his big scene, Hatch as Early is summarily shown the door and pretty much told he is a has been who has no idea his time has come and gone.  Without any previous nuance, variety or tone shifts prior to this, when he needs to "come back up" to the heights of his persona, Hatch has nowhere to go.  So when he screams (a la James Brown) his final lines about this not being the last we'll see of him and that they would be nowhere with out him, they fall decidedly flat as it is just more of the same.  We are, to an extent, supposed to be on his side.  He is a good guy, but as played by Hatch, the audience, very vocal throughout the show greeted his final moments with silence and not even polite applause.  For me, it is all the more disappointing because Mr. Hatch is one of my very favorite local performers. 

All quibbles aside, this Dreamgirls is a performance not to be missed.  As they sing, "We're your Dreamgirls, boys, we'll make you happy!"  It is nearly impossible to leave without a smile on your face.  They also sing, "Dreamgirls will never leave you!"  Well, this production leaves town November 18 – two months from today.  You'd be wise to get your tickets, and fast.  Rumor has it they are selling like hotcakes. 

** - My apologies to Miss Johnson.  When this review was first posted I was under the impression that I was seeing Ashley Parker, who I am sure also does a terrific job as Lorrell.  No announcement was made at the performance (that I heard, anyway) that said Ms. Parker wasn't on that night.  Either way, the audience wins!  Both Ashleys are very talented.  JH

PHOTOS:  By Kirstine Christansen, courtesy of Toby's Dinner Theatre.  TOP to BOTTOM: The Dreams: Dayna Quincy, Mary Searcy, Kelli Blackwell and Ashley Johnson; The Men: Leanto Jones, Kevin McAllister, Ray Hatch; Kelli Blackwell, "I Am Changing"; "Deena's Singing Lead, Effie": Mary Searcy, Kevin McAllister, Kelli Blackwell and Demargio House; Ray Hatch as James "Thunder" Early.

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