Dreamgirls
By Rob Stevens
San Diego Musical Theatre ended its first season with a highly ambitious production of Dreamgirls on the stage of the Lyceum Theatre. Unfortunately, their ambitions exceeded their capability. Technical problems plagued the opening night production, from late cues and entrances to falling set pieces. The second act was halted for a few minutes after a set piece, being moved into place behind a black drop curtain, nearly crushed one of the actors performing a scene in front of the curtain. After brooms appeared under the curtain to sweep up the broken pieces, the show went on. Oh, the joys of live theater.
Dreamgirls was choreographer/director Michael Bennett’s final Broadway show and one of the first to feature an almost cinematic look in its smoothly flowing backstage/onstage look at the crossover of rhythm and blues music to the pop charts. The score, lyrics by Tom Eyen and music by Henry Krieger, was strongly Motown influenced. The score is given its due in this production by Musical Director/Conductor Don Le Master, his band, and the performers.
There are some great voices on display, starting with Stacy Frances as belting diva Effie White. Her “And I’m Telling You I’m Not Going” is naturally designed to be a showstopper, but her rendition of “I Am Changing” is even better. Natalie Wachen, as the Diana Ross-doppelganger Deena Jones, has a smooth sound, and Sabrina Sloan makes an impressive Lorrell. Their vocal blending is sublime on the title number, one of the shows most infectious confections. Charl Brown as Curtis Taylor, Jr. and Tonex as James Thunder Early are also vocally strong, if dramatically lacking. The mens’ best moment, and one of the shows few highlights, is “Steppin’ to the Bad Side,“ aided by choreographer Marvin Thornton. Director Ron Kellum has not been able to get much more out of his cast than their voices; their less than adequate thespian talents hurt the emotional impact of the show. There is no subtext in their acting-- very little text either. Kellum’s direction of the action is severely hampered by one of the most amateurish and noisy stage crews in memory.
The opening night audience was for the most part even more amateurish. Packed with friends and fans, especially of Gospel Rock Star and local boy made good Tonex, they cheered and hooted, talked back to the performers and were generally disruptive. Theater does need to find new audiences, but they need to be trained in the discipline of theater as opposed to their living room or the concert milieu.
(Dreamgirls, produced by San Diego Musical Theatre at the Lyceum Theatre, Horton Plaza, San Diego. 858-560-5740. $35-50. Thurs-Sat, 8; Sun 2. Closes Sept. 28)
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