Review: DREAMGIRLS at Shea's 710 Theatre

A renaissance of Buffalo born theatre productions at the former Studio Arena Theatre in Buffalo continues to burnish brightly. As I sat in the crowded, newly renovated Shea's 710 Theatre, thinking how the facility had been mothballed a decade ago, Buffalo's hometown pride burst through. On afternoon when the Buffalo Bills were playing, a mix of cultures gathered for a spectacular production of DREAMGIRLS. In a joint production between Shea's 710 and the newly formed AnsariSaxon Productions, the energy was palpable both on and off stage.

Having presented wonderful productions of ONCE ON THIS ISLAND and THE COLOR PURPLE in the past, Director/Choreographer Naila Ansari Carbonello Catilo and Co-Director/Music Director Karen Saxon have formed their own production company. Utilizing a plethora of some of Buffalo's  best Black community of artists, the talent of artistic and creatives continue to burgeon.

DREAMGIRLS, with a Tony Award winning book by Tom Eyen and Music by Henry Kreiger, was  originally directed  and choreographed on Broadway in 1981  by Buffalo's own Michael Bennett . The story  tells of the rise of a trio of girl singers, thought to be loosely based on Diana Ross' journey with the group The Supremes. It's powerhouse score melds soul, R&B and hints of disco as it tells the story. Upon reflection, it is still refreshing to see how a story can be told with an original score versus the  recycled jukebox musicals of recent years. Jennifer Holliday rose to stardom playing Effie, winning the 1982 TONY Award as  the lead singer who is jilted, most likely due to her size. Holliday is still at it and will be appearing at Fallsview Casino in November!  Another famous Jeniffer went on to win an Academy Award for her portrayal-- that being Jennifer Hudson, who rose to Hollywood fame thanks to that role.

When Effie, Deena and Lorrell audition at a talent show, they are spotted by producer Curtis (loosely based on Berry Gordon of Motown records), and hired to be backup singers for the great Jimmy Early. Hoping it is their big break, the ladies agree, thinking  they will soon be recognized for their own talent. As they rise, Effie is demoted from lead to backup, as Curtis connives to change his course, and move the slender Deena to lead  (His romantic attachments also shift from Effie to Deena). The subsequent personal stories of these ladies unfolds and drama ensues.

George L. Brown returns to Buffalo as Curtis, and he commands with his booming vocals and tough as nails conviction.  But his character softens as he sings  "You Are My Dream," which Brown delivered beautifully.

Augustus Donaldson instantly lights up the stage  as Jimmy with his hammy, over the top portrayal of a James Brown/Little Richard mashup. Donaldson is fantastically smarmy, full of smooth moves, ear piercing screeches and limber dancing. Singing "Steppin' To The Badside" and "Ain't No Party" were both highlights.

Austin Marshall brings a sincerity and focused family heart to the role of C.C., Effie's big brother who is also a composer. Marshall's clearly focused tenor voice was a treat.

But oh, the ladies!  Dasia Cervi is Effie White, and the pipes on her were custom made for Krieger's showstoppers. Cervi's singing was full of power, from chest voice, to lighter head voice and full of dramatic riffs that kept the audience in the palm of her hand. Cervi is still a young woman, who is not always as convincing in her book scenes, but when the show transitions to song, she comes alive. By the end of act one, her rendition of the hit "I'm Not Going" was spine tingling. And in Act Two, her plaintive "I Am Changing" had the audience rooting her successful comeback.

Shylah Akiya is a UB Freshman, and her take on Lorrell was spunky and age appropriate. Akiya plays the 18 year old who grows up before our eyes, and she "becomes a woman" who happens to fall in love with Jimmy (who is a womanizer that just happens to be married). Akiya sings with gusto and grows into a woman of power.

Talia Mobley is Deena, the Donna Summer-inspired singer, who quietly rises from backup to superstar. Mobley packs a lot of punch in her small frame and by the time she hits  the meteoric top of the charts, her smooth disco version of "One Night Only" harkens back to Donna Summer's own personal sound once again. Mobley is confident and exudes power after being told what to do for too many years.

Zhanna Reed as Michelle joins the ladies as Effie's replacement, and she has a sass that is matched by her strong singing and elegant dance moves.

Nelquan B Jones has a  picture perfect look as Marty, Jimmy's producer. Jones can sing with smooth conviction while  convincingly playing the overbearing bad guy.

The score is a challenge as it morphs conversations, to ensembles to solos, with complex music for everyone. The fine band led by Saxon was an integral part of the musical excitement.

Ansari Carbonell Catilo uses the stage wisely and creatively with her dances, executed with excitement from the leads and ensembles. Synchronized dances for the singing groups were homages to the moves of groups like The Shirelles and The Temptations. Her Co- Direction with Saxon finely paced the action and delineated the multiple confrontations with the onstage/off stage performances.

Scenic Design by Ron Schwartz was simple but effective in providing multiple levels and playing areas. Meanwhile Lighting by Nick Quinn added to the glamour and excitement. 

Costume and Hair Designer Phylicia Robinson Dove had the massive challenge of costuming the large cast with styles through the years, from 60's to 80's. The results are stunning, with shimmering gowns, period dresses, and an eye popping color palate for both men and women. The wigs firmly established the styles of the times, with some creative color choices that added unexpected punches. 

This production of DREAMGIRLS ticks all the boxes -- a well produced production whose powerful music was supported by all the technical elements necessary for an emotional musical knockout!.

DREAMGIRLS plays at Shea's 710 Theatre through September 28, 2025. Contact sheas.org for more information