The new cast maintain the magic of this soulful powerhouse of a show.

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The London production of Dreamgirls, directed by Casey Nicholaw, has been given a new lease of life. With a cast change last November, the soulful musical will now continue its residency at the Savoy Theatre to the end of 2018. The House That Soul Built attended a press night last week and felt a full review of the production and its new cast was necessary. Could they live up to the high benchmark set by the previous, Olivier Award-winning cast?

Loosely based on the internecine rivalries within Diana Ross & The Supremes, Dreamgirls explores the attempts of a black girl group from Chicago to navigate a white-dominated music industry and find commercial success. After performing background for established R&B artist Jimmy Early, the three girls – Effie, Deena, and Lorrell – are given their own act. The central point of tension emerges when lead character Effie White, the full-figured and vocally bombastic member of the group, is placed in the background by her lover and manager, Curtis Taylor Jr. Her best friend and fellow group-member, Deena Jones, is chosen to sing lead because of her beauty and lighter sound.

As reviews have noted, Tom Eyen’s book certainly has its limitations. The central conflict of the first act escalates too quickly, while the show’s second act feels somewhat rushed with a litany of narrative gaps. Moreover, the racial barriers within the music industry which frame the plot are not explored in much depth. Other interesting themes, such as the notion of fashioning a sound to ‘cross over to the pop charts’, are similarly underdeveloped. However, there is nonetheless a strong emotional pull to the narrative as relationships deteriorate and identities are quashed under the pressures of ‘showbiz’ (which forms a musical refrain scattered throughout the production). There is plenty of emotional payoff too, with the audience responding effusively to the empowerment of the female characters and the rekindling of friendships.

Ultimately, any structural and narrative issues are eclipsed by Henry Krieger’s brilliant score. From smooth sung-through dialogue, devastating ballads, and rocking, funky melodies, the magic of Dreamgirls is in both the music and the voices. The songs combine 1960s soul hooks with Broadway gravitas. High-octane numbers such as ‘Steppin’ To The Bad Side’ and ‘Fake Your Way To The Top’ are electric and propelled by brilliant orchestration. There is also particular skill in the way ferocious arguments and conflicts are delivered musically in songs such as ‘Heavy’ and ‘It’s All Over’. Moreover, the production has a calibre of singing that is quite frankly unmatched by any other offering on the West End.

Performing in the lead role of Effie White in this reviewed performance was Moya Angela. A Broadway performer, Angela shares this iconic role alongside Marisha Wallace and Karen Mav – following the departure of Olivier-Award winner Amber Riley. We reviewed Angela’s performance in her opening week in the company, predicting that this role would make her a West End star. This performance months later served as a validation of our initial judgement. If anything, she was more incandescent. Her pained, visceral, and relentless performance of ‘And I’m Telling You I’m Not Going’, the showstopper of the production, evokes Jennifer Holliday in terms of sheer vocal power.

Though commanding the best songs in the production, the show does not rest solely on Effie’s shoulders. Brennyn Lark follows in the footsteps of the much-adored Lissi LaFontaine in the role of the Diana Ross-inspired Deena Jones. While capable of Ross-style tenderness, Lark can belt to the rafters with crisp, clean precision. She plays into the sweet naivety of her character in the first act, and develops a ravishing yet conflicted persona in the second as Deena reaches heady levels of stardom. Asmeret Ghebremichael continues to perform the role of Lorrell Robinson with frenzied animation. Her performance in the second act allows her voice to soar and the depth of her character to emerge.

The principal male cast are also worthy of ovation. Tosh Wanogho-Maud had the unenviable task of stepping into the shoes of Adam Bernard, whose career-defining performance of Jimmy Early won him an Olivier Award. Fortunately, Wanogho-Maud incorporates his own idiosyncrasies into the role, displaying a delectable baritenor range with raw gospel licks. Though full of combustible sexual energy, Wanogho-Maud also draws out a tormented character indignant that his raw funk is being sanitised to appeal to white audiences. Joe Aaron Reid continues to play manager Curtis Taylor Jr with sinister zeal and vocal poise, while Durone Stokes plays Effie’s brother C.C. White with an endearing warmth.

The production is certainly loud and brash; initial reviews emphasised its glitz and extravagance. True, there is no shortage of sparkle with flashy lighting, elaborate outfits, and colourful sets throughout. But fundamentally there is soul underpinning it. The power, feeling, and depth behind the voices shine brighter than any sequined costume or Swarovski crystal.

This reviewed performance took place on 8th March 2017. The House That Soul Built attended on a press ticket. 

Dreamgirls is running at the Savoy Theatre. Cast/Creative information can be found here.

(Image Copyright: Sonia Friedman Productions)