Having originated on Broadway in 1981, the soulful musical Dreamgirls only reached London’s West End in November 2016. In its first year, the West End production has proved to be a roaring success with London audiences. Loosely based on the internecine rivalries within Diana Ross and the Supremes, Dreamgirls explores the attempts of a black girl group from Chicago to navigate a white-dominated music industry and find commercial success.

The West End production has fairly recently had its first major cast change. Marisha Wallace – a true force of nature – has replaced Oliver-award winner Amber Riley in the lead role of Effie White, having wowed audiences as Riley’s alternate since December 2017. Her brilliance in the role has been well established by fans and critics alike. Hence, this review addresses the performance of one of the new cast-members brought in to share the role of Effie: Moya Angela. A Broadway performer, Angela took on the role of Effie White in the 2009-10 touring US production of Dreamgirls, and 8 years later has found herself in London for her West End debut.

Aptly described by producer Sonia Friedman as ‘arguably the biggest sing in musical theatre history’, the role of Effie White is a gargantuan challenge. Originated by Jennifer Holliday on Broadway and popularised by Jennifer Hudson in the 2006 film, the role requires vocal stamina, grit, and power in abundance.

Fortunately, Angela fits the bill perfectly. In voice, she is the somewhat reminiscent of Jennifer Hudson with her rich, rounded tone. But she certainly carves out her own niche in the role. Her acting is arguably the most developed of the London ‘Effies’. She captures a fine balance between Effie’s stubbornness and volatility, her vivaciousness and charm, and also her strive and wherewithal.

The true test of Angela’s ability was the Act 1 finale and showstopper, ‘And I Am Telling You I’m Not Going’. There are no songs in musical theatre which can match the sheer magnitude of this number. Beginning as a defiant statement of love (‘you’re the best man I’ll ever know’), the song turns into a desperate plea (‘please don’t go away from me’), swells with fury (‘turn down the mountain, yell, scream, and shout, you can say what you want I’m not walking out’), and closes with Effie defiantly proclaiming ‘I’m staying’. There is also a madness and delusion to the song as Effie asserts to an empty room, ‘you’re gonna love me’.

Angela infused the opening verses with a pained tenderness, switching effortlessly between growl-flecked notes and soft head voice. As the song escalated, Angela’s Broadway experience was evident in her ability to riff over the score and play with the song’s pace, yet never fall out of sync with the orchestra. As the song reached its titanic modulation, Angela stretched her voice without a hint of strain – her upper-chest belts coloured with flashy vibrato which rang throughout the Savoy Theatre. At the last acapella stretch, Angela inhabited the crazed desperation of the song, delivering the dramatic breaths, pauses, and grunts which give the song its visceral emotional power. The audience could not deny her a standing ovation.

Angela’s brilliance continued into the second act. She infused redemptive ballad ‘I Am Changing’ with a wisdom and resolve, asserting ‘nothing’s gonna stop me now’ with a triumphant glint in the eye – her rich belt used to full effect. Her performance of ‘Listen’, performed as a duet with the stunning Liisi LaFontaine, had a warmth and authority which never descended into schmaltz.

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Though currently a relative unknown in the West End, Moya Angela will follow in the footsteps of Marisha Wallace and make a name for herself through this role.

Grade: A

(The performance being reviewed took place on Friday, 24th November 2017.)

(Image Copyright: Sonia Friedman Productions)