Dreamgirls

We have so much to thank StageArt for. They’re a brave company who are committed to bringing us musicals that Main Stage producers won’t touch – thus giving us a chance to see shows we otherwise would never see. Earlier this year it was the marvellous In The Heights – a production in a league of its own. Now it’s Dreamgirls, a 1981 Tony winner and later a successful film, but a show that even 34 years later we would not be seeing were it not for StageArt. And although Dreamgirls doesn’t reach “The Heights” there is much to enjoy, as well as some things that could work – but don’t.

The show itself presents several problems. It’s about Black Americans (loosely based on Diana Ross and The Supremes) and, despite a valiant effort, we are acutely aware this is not an Afro-American cast…even the accents come and go, and the attitudes don’t have enough “Jive and Sass” to them. Then there’s the music. It’s not bad, and there are three terrific songs, but I, and friends I talked to, found myself longing for some of those Supreme hits. The song “Dreamgirls” could never take the place of “Stop – in the Name of Love” or “Baby Where did Our Love Go”. And, mostly sung through, the dialogue to music seems trite and often clunky. But those are faults with the show itself – and outside the control of this production. The team works with what is given.

Casting this must have been a mammoth task, and overall it is great, with terrific tight harmonies and great music from a fab band under the direction of Tyson Legg. Thando Sikwila is a revelation vocally as Effie and, despite this being her stage debut, comes closest to finding that Afro/American Sass. Her rendition of the famous “And I Am Telling You…” brought the house down, and brought tears to many eyes – (though I preferred her second act numbers “I am Changing” and “One Night Only”) She got better as the show progressed and by next week I expect she’ll be totally gob-smacking as she gains confidence. Gareth Jacobs is a fabulous talent with charisma and vocal chops to die for, as well as a smile that lights up the stage. He’s an asset to any production but he failed to find the “Dark” side of Jimmy Early – the womanising drug taking nasty megalomaniac. It’s hard to follow Eddie Murphy in anything and Gareth did try for a different Jimmy, but it doesn’t work. Anna Francesca Armenia is another great talent, but whether through the actress or the direction, the character of Deena never progresses, never becomes the Diva Superbitch that was Diana Ross – so when she repents at the end, there is nowhere dramatically for her to come from. Still, she looks great and sings wonderfully. Zenya Carmellotti is a real find…a genuine star in the making at just 18. She lights up the stage every time she appears as the third Dreamgirl, Lorrell, and is a sheer delight in all aspects… a real triple threat.

Winston Hillyer sings fabulously but fails to make an emotional connection with the rest of the cast or the audience. Djon Alexander is a great CC and in terrific voice; Augie Tchantcho is very impressive as Marty and I look forward to seeing him again; and Sharon Wills is a delight in the smaller role of Michelle Morris.

Also earning big ticks is the ensemble…as good as any ensemble anywhere …and Jason Bovaird’s wonderfully over the top Las Vegas style lighting design. It’s amazing and well matched by Marcello Lo Nicco’s sound design….despite some glitches with special sound effects.  Lucy Wilkinson’s wig and makeup design is excellent throughout, and Darren Stack’s choreography is true to the time and remarkable in the confined space.

Overall, as you can see, these things promise a great production. So what doesn’t work? Sadly, O’Connell’s direction is lacklustre and predictable in the extreme, and he never manages to find any the subtext or depth in character. This is the second show of his I have seen recently that suggests (and I’m hope I wrong) that the heart of a once great director is no longer fully engaged. This production offers so many opportunities, most of which have been missed. Jacob Battista’s ugly set is both uninspired and uninspiring, and barely serviceable at best. But the real problem is the much touted costuming. Daniel Harvey’s designs may have been terrific on the page, and pay more than lip service to the original Broadway designs, but the execution of them is just horrendous, particularly when you’re sitting in the second row….pulled threads; ugly puckered seams; crooked machined hemlines; and even one lurex over lay that wasn’t even edged and had jagged scissor marks. As one other reviewer and several artists remarked to me, “Amateur companies have better costumes.” These simply aren’t good enough for a professional production. Worst of all they simply didn’t fit properly. Unfortunately this huge failure (which could have been avoided with fewer but better costumes. Yes, I know the budget is tight for Indie producers – but there’s no excuse for some of the cheap trimmings) tainted the whole show for quite a few of the first-night audience.

Nevertheless, we NEED StageArt and I look forward to their next production. Go to Chapel off Chapel and see Dreamgirls. It may be the only chance you get to see it live and the positives far outweigh the negatives.

Coral Drouyn

Images: Zenya Carmellotti, Anna Francesca Armenia and Thando Sikwila. Photographer: Belinda Strodder.