Why see onstage the musical Dreamgirls that can be seen in local cinemas? Why see it again if you've already attended the Westcoast Black Theater Troupe's previous productions not long ago? Two reasons: Teresa Stanley and Chadwick. The woman reaches thrilling operatic heights at the end of Act I with both vocal and emotional output. The man doesn't have to act the part of a legendary singer: he personifies a confident, preening man with ravishing soprano tones and manner that would be over the top if his own top -- not just head but attitude -- weren't so high. Yes, they're worth seeing and listening to more than once and certainly close up.
This production's also worth watching for its seemingly endless parade of gorgeous costumes, rarely present in such variety, color, and abundance for a brief run by a troupe with limited means.
On the other hand, economy makes ladders of lighting and lettered or stenciled backlighting creatively characterize the story's many settings. That story tells of Curtis Taylor, an ambitious agent, discovering three singing galpals at a talent show and offering them fame as African-American artists with a new sound. He wins them over by wooing lead singer Effie (Teresa Stanley) but abandons her personally and professionally to promote and wed the slim, sophisticated Deena. Always a backup, Lorrel falls for and in with showy star James "Thunder" Early (Chadwick), who's estranged from his wife but won't divorce her. Effie's replaced after a rebellion that estranges her from the other "Dreams" and her brother, their composer C. C.; she hits bottom.
"The Dreams" have one hit after the other, but after seven years discontent prevails. Deena wants to be an actress and to make films. Lorrel wants James to marry her. Curtis wants to keep Deena as his wife and star but hounds C. C. to take them in a new musical direction. Meanwhile, Effie is making a comeback with C.C.'s help. He's written the song "One Night Only" to give her a hit, but Curtis wants it for the trio. In a competition between them and Effie for record sales, Effie begins to win. Soon everything's falling apart for Curtis, who also faces charges of criminal activities. Deena and Effie make up in time for...a nostalgic finale. And it's about time! There's just been too much repetition of ups and downs.
In some instances, plot details seem to get short shrift between the musical numbers. There's evidently a child in there somewhere, and Deena's acting ambitions appear rather suddently. Tsadok Porter fills Lorrei's gowns beautifully, but her singing doesn't compare with Stanley's nor with the voice and strong personality of Jnana Wilson as Lorrei. Thomas Williamson II's C.C. is also stronger than Curtis in Nate Jacob's uncharacteristically staid interpretation. He never seems to be in love with either woman he woos, just disappointed when they don't respond as he wishes. Michael Kinsey, who plays the girls' initial promoter and Effie's later one, makes Marty seem more invested in their success.
Almost no attention is paid -- and this may be a fault of the script -- to competent Nisi Weaver as Michelle, Effie's replacement. A little directorial imagination would have been as useful in this regard as it appears in the opening scenes when both an onstage performance and backstage dialogue come off well simultaneously. The lights/ladders manipulation is as beautifully choreographed as the musical numbers too.
It's said that Dreamgirls is a musical a clef. That seems less important than the experience it gives per se -- that is, upfront and three dimensional. You should enjoy the live music too.
