REVIEW: Dreamgirls Dazzles in Catonsville

In what has to be Baltimore's best-kept community theatre secret, Winters Lane Productions has opened another season with the rarely produced (at this level, anyway) Dreamgirls.The show, said to be spin on the Diana Ross and The Supremes saga, has music by Henry Krieger and book and lyrics by Tom Eyen.Those of you who follow this group might find this as no surprise considering that they seem to specialize in the less common (read challenging) shows - they did Cy Coleman's The Life to much acclaim last year I have come to find out.To be completely honest, I had never even heard of the group until its founder and driving force, Anya Nebel, sent me a press release.I am pleased to say that I am all the better for the introduction.And you should get to Dreamgirls and support this growing group.Be there and be able to say, "You missed Dreamgirls?What a shame!"

Only a few small things betray that this is even a community theatre endeavor.That is how polished and professional this production is.First, there is the quaint introduction of the show by the company leader.Then there is the uneven quality of the sound, mostly due, I'm sure to the cavernous quality of the space, which, like its equally acoustically challenged counter part at CCBC Essex, must double as a lecture hall at some point.And the excited players need to remember that if everyone has on body mics, it is essential to not talk backstage.But these are small complaints.Only one thing really affected the otherwise sharp, entertaining evening: the direction.

There is spotty direction by Mark Briner, who seems to recognize the cinematic style of the show only occasionally.There were several moments in each act where the stage was completely bare, lights on, music playing.These awkward glitches are particularly glaring when compared to the stylish, even flow of the opening montage scene, and a lengthy similar scene in act two.Hard to believe the same director had a hand in both sets of circumstances.Mr. Briner seems to have brought all of his best tools the days he staged these monolithic scenes.Even still, Dreamgirls in every other way is a winning piece of theatre by a winning company, deserving of huge audiences and a loyal following.

Anyone who knows Dreamgirls will tell you that the music is huge - huge in difficulty, huge in style, and huge in quality.This production scores big on all three fronts.The orchestra under the baton of Cedric D. Lyles is first rate, giving a near Broadway level of quality.Though not their fault at all, one wishes a better balance between the orchestra and the singers could be reached.Musically directed by Ed Meyers and assisted by Tiffany Underwood, the show is fantastic vocally as well.All of the leads and the huge ensemble (there are 30 cast members) sound professional and sing with real passion.It is nice to see the work get to the emotional depth it richly deserves.

Then of course, there is the huge undertaking of choreography, handled with a deft touch, much creativity and even some jaw-dropping difficulty by Ms. Nebel.Clearly, she knows her way around 60's/70's R & B, not only paying homage to that performance style, but heightening it.Each "performance" by the Dreams and various other "groups" in the show have dazzling choreography, and the larger group numbers are exciting.Especially of note is Ms. Nebel's staging of "Steppin' to the Bad Side" and "One Night Only", the latter a glorious example of the cinematic style this show begs for, as the company ebbs and flows with the counterpoint of a slow version and a pop version of the song.

Apparently producing and choreographing this monster of a show isn't enough for Ms. Nebel as she is also responsible for the costume design as well.She has created a veritable runway show of 60's and 70's fashions (including a cavalcade of period wigs).Rarely do you see anyone in the entire show in the same costume more than once.And the fabulously blinding sequins, chiffon and even fur must have been budget busting.Well, every penny was well spent, and the designs themselves superb.For all the money that was spent on the costumes, not much was spent on the scenery, which amounts to an upstage platform, some steps and a few pieces of furniture, all designed by Sid A. Curl.While this might sound like a negative, it really isn't.Scenery would have gotten in the way, slowed things way down and would have seriously detracted from the costumes, dead on props and the terrific performances.The overall effect, appropriately enough, is that of a staged concert, rather than a conventional musical; Dreamgirls has never been a conventional musical, and kudos to Winters Lane for recognizing that.

As mentioned earlier, the ensemble is terrific.But the real find here is the marvelous roster of leading performers, each of whom brings the full package to the stage - they act, dance and most importantly sing the hell out of the score.In perusing the program during the intermission, I was a little less surprised given the pedigree of the performers all of whom have extensive credits at every major college in the Baltimore/DC area and beyond, as well as major credits at local theatres including the Kennedy Center, Signature Theatre, and even TV and film.In the difficult role of Curtis Taylor, Jr., Keith E. Irby brings a cool, even handed quality to the smooth talker who eventually turns bad, manipulating the girls.He is a presence in the slimiest (a serious compliment) way and has a powerful voice.Troy Hopper brings panache, style and warmth to the comedic, then touchingly dramatic role of James "Thunder" Early. Of the male leads, however, Aaron Reeder as C.C. White plumbs the depths of a role that requires him to sing like gangbusters (he does!), fade into the background, and come out strong as the play nears its conclusion.He is hard to keep your eyes off of - he has that "it" factor actors dream of.

Of course, the evening would have need of being without the titular Dreamgirls - there are four and each is no less than lovely and super talented.As the "replacement" Dreamette, Chelsea Mitchell brings a great voice and unassuming bearing to the group, as necessitated by the script.This could be a thankless role, but she works hard and delivers the goods.The other three "original Dreamettes" are cast perfectly.As the quietest of the three, Lorell, Shaunte Tabb grows as her character does - from mousy to a sharp, no nonsense woman.Her voice is thrilling and she acts just as well, and always remembers what so many local actresses do not - you must act when you are singing!As Deena, a role easily seen as a villainess (she takes over the lead vocals from a blind-sided Effie), Latanya R. Moss brings a full range of skills to the role - she can be self-deprecating, mortified, dignified and even bitchy.No matter what the role calls for she brings it.And if at times, her singing isn't as loud or powerful as it might be (I wonder if she might have had mic troubles), she is never less than a dazzling presence as she grows unwittingly into a diva.Still, her range and the layers of her performance never really make you hate Deena - you feel sorry for her, which adds another interesting facet to the show.Lastly, and most importantly, Winters Lane has found a goldmine in Kelli Blackwell, who as Effie White has the burden of having to deliver the iconic "And I Am Telling You".Folks, this miraculous young woman gives Jennifer Holliday - the role's originator - a run for her money.Her goose bump-inducing rendition of the song is one of the greatest 5 minutes I have spent in any theatre in at least a year.Not only does she not mimic Ms. Holliday, she makes this aria gloriously all her own.Kelli Blackwell should by all rights be a star.She is absolutely magnificent. Brava!

Please support this newly discovered Baltimore treasure.You'll be glad you did.Dreamgirls is a dream come true for Baltimore musical lovers.

(PHOTO: Clockwise from Left: Shaunte Tabb, Latanya R. Moss, Chelsea Mitchell and Kelli Blackwell.  Courtesy of Winters Lane Productions)

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