Review: DREAMGIRLS at The Phoenix Theatre Company

In October ’22, LIFE magazine paid special tribute to the music of Motown with an issue that records the history of Berry Gordy’s relentless effort to shape a business that would change contemporary culture. Gordy succeeded big time. From January 1959 to the day in 1988 when he sold the company to MCA Inc., the charts were filled with the hits of his label’s eternally memorable vocalists. Among these were the black all-female groups who captured the sound of the era and whose songs still rock our soul.

DREAMGIRLS, the musical has enjoyed that same staying power ever since its 1981 premiere at the Imperial Theatre on Broadway and its Academy Award-winning film adaptation in 2007. It does so with a story that is inspired by and captures the ups and downs, the aspirations and disappointments, of the universe of talent that defined the Motown era.

Effie White is the centerpiece of the story ~ the embodiment of all the aspiring talents who knocked on studio doors for a shot at the big time. Alongside her fellow Dreams ~ Deena Jones (Candace Haynes) and Lorell Robinson (Aja Downing) ~ Effie likewise longs to shine her gifts on the world stage. She is brassy, self-confident to a fault, and blessed with a big belting voice.

The role requires an actress of substance and range, and Miciah Lathan rises to the occasion, showcasing a remarkable vocal prowess that is sure to leave every audience in an extended moment of wow. Her rendition of the show’s iconic ballads And I Am Telling You I'm Not Going and I Am Changing is nothing short of breathtaking, conveying the raw intensity and heartache of Effie's journey. If there’s one quibble with the vocals, it’s the failure to build up to the song’s high points and give them nuance.

In The Phoenix Theatre Company’s production, directed by Daryl Brooks, three key elements hold this golden oldie together ~ Miciah Lathan, for sure; the astonishing and stellar performance of Antonio King; and, of course, the compositions of Henry Krieger and Tom Eyen.

Antonio King plays the role of falling star Jimmy "Thunder" Early with flash and bravado. Displaying an infectious levity, seething sexuality, and vigorous vocals, King is a triple threat ~ distinguishing himself as singer, dancer (the king of multiple splits), and actor. He injects the musical with much-needed humor and charisma.

The pressure on Early to fade off into the musical sunset captures the challenges faced by veteran stars whose glow is overshadowed by newcomers. It parallels the story that Krieger and Eyen were aiming to tell about the struggle of African-American artists, and particularly the champions of the Motown sound, to break through color barriers of ‘60s and ‘70s.

Effie is thwarted in the fulfillment of her dream by the betrayal of wannabe impresario Curtis (Will Smith, Jr.) whose eyes and testosterone are directed toward Deena, whom he positions as the Dreams lead singer.

As Deena, Candace Haynes brings her own star power to the role but, as is the case with the other secondary roles, the performance never attains the depth that would make her journey relatable. We seek still to connect with her transformation from a backup singer to a superstar.

The delightfully surprising and delicious performance of the production is that of Aja Downing as Lorell. As Thunder Early’s amorous interest and the third Dream, she delivers not only impressive vocals but also a uniquely gifted comedic sensibility, accentuated by her hilarious modulations of voice to express a range of reactions.

Andrea Fleming returns to the Company’s stage as Michelle Morris, Effie's replacement in the Dreams. Her performance here is a solid reminder of the depth of talent that she portrayed as Celie in last year’s production of THE COLOR PURPLE, superbly directed by Mr. Brooks ~ what this critic described as “a dazzling bravura performance.” In a role that offers a distinct perspective on the sacrifices made to achieve success, Fleming is once again at her best. Too bad that the show leaves her character’s transformation underexplored and undeveloped.

Rounding out the standouts is Brett Michael Lockley who delivers a convincing turn as Effie’s song-writing brother who unwittingly submits to Curtis’s manipulations at the expense of Effie’s dreams.

DREAMGIRLS promises a glimpse into the glamorous world of music and stardom, but unfortunately falls short of its lofty ambitions.

One of the major drawbacks of the production lies in its pacing and structure. As profound as the show’s theme is meant to be, the story line is thin and it meanders, losing focus and failing to maintain a cohesive narrative thread. The transitions between scenes feel abrupt and disjointed, hindering one's ability to fully invest in the characters' journeys. While the interjection of the ballads awakens the audience to the story’s pivotal moments, this lack of flow takes its toll, limiting a genuine connection with the characters and their struggles.

The musical numbers, which are typically the highlight of DREAMGIRLS, also leave a lot to be desired. While some songs other than Effie’s highlights have the potential to be showstoppers, the arrangements often feel cluttered and overwhelming. While conductor Kevin Robert White’s orchestra is superb and upbeat, the orchestration frequently drowns out the singers, making it difficult to fully appreciate their vocal talents.

The stage seems too small for its oversized ensemble with the result that the choreography is cumbersome and imprecise.

These shortcomings, however, are compensated for, to an extent, by Mallory Prucha’s flashy and sparkling costumes, which have the authenticity and attention to detail that transports us back to the milieu of the ‘60s.

Bottom line: Despite the shortcomings of this production and save for the music and a handful of super-sharp performances, DREAMGIRLS still manages to excite its audiences and arouse their emotions. 

DREAMGIRLS runs through September 3rd in TPTC’s Mainstage Theatre.

The Phoenix Theatre Company ~ 1825 N. Central Avenue, Phoenix, AZ ~ https://phoenixtheatre.com/ ~ 602-254-2151

Photo credit to Brennen Russell

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