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Hot visuals and energetic staging bolster some so-so performances
BY MICHAEL SOMMERS
NEWJERSEYNEWSROOM.COM
OFF BROADWAY REVIEW
The story of "Dreamgirls" begins and ends on the stage of the Apollo Theater, so the musical assumes a little extra dramatic resonance at the fabled Harlem showplace, where a new touring production opened Sunday.
That's good, because this otherwise fairly enjoyable version staged by Robert Longbottom looks spotty in the acting department.
For all of its pulsating music by Henry Krieger, writer Tom Eyen's 1960s-70s saga regarding the rise and eventual splintering of a Supremes-like girl group demands dynamic performers whose acting is close to par with their vocal abilities.
Too bad that Chaz Lamar Shepherd gives a deadwood accounting of Curtis, the ruthless manager who plots the Dreams' crossover success. A boyish Trevon Davis is scarcely better as the Dreams' songwriter. At least Syesha Mercado's slim, sweet Deena Jones sings as prettily as she looks.
But what about Effie, the troublesome songbird shunted aside by Curtis? Moya Angela conveys Effie's temperamental nature decently enough — but reserves her emotional chops for the character's soulful numbers. Easily zooming around the money notes, Angela's clear, strong voice does well by the showy "And I Am Telling You I'm Not Going" aria. Even more effective is Angela's simple, moving rendition of the repentant "I Am Changing."
A funny, flashy performance is provided by Chester Gregory as that happy hound dog James "Thunder" Early - all elastic limbs, astonishing falsetto and comical bad boy attitude. Adrienne Warren is a gutsy Lorrell and her incisive "Ain't No Party" face-off with Gregory is an unexpected highlight.
The production also includes "Listen," which was written for the film. This inspirational duet for Deena and Effie is satisfyingly performed by Mercado and Angela and sweetens the musical's ending.
Offering some suggestion of the late Michael Bennett's 1981 original, Longbottom's fast-moving staging is more efficient than eloquent. The sound design loses a few of the ensemble number lyrics in the mix but makes a 15-member orchestra seem bigger. Terrific visual design is what makes this okay road show something to see.
Once again creating the set, the great Robin Wager utilizes five huge LED panels that travel and pivot into different configurations. On the bright side of them, Howard Werner's striking multimedia design deploys a thousand moving vistas and hot colors. On the dark side, the gray panels effectively suggest backstage environs. Meanwhile, the ever-moving shafts of Ken Billington's sharp lighting create mood and furnish razzle-dazzle as necessary.
Over 500 outfits have been smartly designed by William Ivey Long to reflect the era's evolving fashions — including a few witty fashion mistakes — as well as to reveal character in the real-life clothes. More than once, Long devises split-second transformations that elicit pleasurable gasps from the audience.
Expect a thoroughly professional, great-looking "Dreamgirls" that's better sung than acted, but the excitement generated by the well-known score and story continues to hook viewers even when the performances are not all that wonderful.
"Dreamgirls" continues through Dec. 12 at the Apollo Theater, 253 W. 125th St., New York. Call (212) 307-4100 or visit www.ticketmaster.com.
