Locals Shine at The Grand Theatre’s DREAMGIRLS

SALT LAKE CITY – The Grand Theatre Company’s production of Dreamgirls is a historically significant experience in which I implore all Utahns to participate. With book and lyrics by Tom Eyen and music by Henry Krieger, Dreamgirls is a story about sisterhood, aspirations and lost opportunities. It is an evening filled with unforgettable performances, a brilliant live orchestra and thrilling technical designs.

One of the many privileges I have as a reviewer for UTBA is the opportunity to expand my theatrical horizons by participating in performances held at new-to-me venues. While The Grand Theatre is certainly not new to Utah, it was my first time attending a production in the aptly named space. The beauty and grandeur of the venue, complete with its high ceilings, large columns and dark green walls, was a performance all on its own. As a Utah native, I was somewhat perplexed that I had never attended a performance at The Grand before now, and was so fortunate Dreamgirls, under the stage direction of Latoya Cameron, was playing during my inaugural visit.

Set during the 1960s and early 1970s, Dreamgirls follows the story of The Dreamettes, an all-female trio hoping for stardom during the rise of the American R&B scene. Under the management of Curtis Taylor (Stephen Taylor), the trio, comprised of Effie Melody White (Quesley Soto), Deena Jones (Kandyce Marie) and Lorrell Robinson (Darby Mest), reluctantly accept a job as backup singers to James “Thunder” Early aka Jimmy (Kiirt Banks) and begin performing across the country. Over time, the women, no longer performing as backup singers and now known as The Dreams, do in fact achieve popularity, but not in the way they initially hoped. As Effie, Deena and Lorrell are each met with heartache and betrayal, it begs the question: what ought to be the price of fame?

Undeniably, the heart and soul of Dreamgirls lies with Soto, Marie and Mest whose individual contributions as well as group chemistry made this a night I won’t soon forget. With tears in my eyes, I watched Soto’s powerhouse performance of “(And I’m Telling You) I’m Not Going” ending with some in the audience on their feet. Soto’s emotion and supremacy brought Effie to life. I related to, cared and ached for her.

Marie flawlessly portrayed Deena, the reluctant diva and eventual face of The Dreams. I particularly enjoyed Cameron’s direction to Marie regarding the evolution of Deena. Never one to steal the spotlight, I marveled at the transformation Marie gave to her character as she embraced her role as lead singer to a woman yearning to embrace new opportunities. The depth and richness Marie brough to her character was outstanding.

Mest was equally strong in her portrayal of Lorrell, and her scenes alongside Banks were brilliant. Mest conveyed Lorrell’s longing to be fully desired by the man she loves and expressed her disappointment with that reality always being out of grasp with such beauty.

Other notable performances were given by Banks who commanded the stage with his strong vocals and obvious charisma. His interactions with the audience breathed energy into the room, making his scenes much more interactive and lively. Particular enjoyment was Banks’s presence during “Steppin’ to the Bad Side.” Asher Head as C.C. White and Sean J. Carter as Marty Madison gave memorable performances with Head’s beautiful vocals and Carter’s dynamic dialogue delivery.

Taylor gave a satisfactory performance as the manipulative Curtis. While Taylor’s vocals were strong, he lacked a certain confidence that felt necessary for his character. I also struggled to hear his dialogue and felt more articulation and a slower pace would improve his stage presence. It was mentioned in Taylor’s bio that he is still building his experience, and I am looking forward to seeing him in many future endeavors.

Costume design by Shannon McCullock was perhaps the strongest technical aspect of the production. Each actor was dressed to perfection and suitably for the time period. Sleek and dark were the suits and vests for the men while the women were adorned in vibrantly colorful dresses that were a feast for the eyes. Similarly impressive were the sheer number of costume changes. Each scene brought new textures and styles and wigs (oh the wigs!) that not only sustained the performance visually, but helped audiences understand the passage of time and dynamics among the actors. For example, the choice to dress Deena differently from the group really helped propel the understanding that she was being heralded as the true star of The Dreams. To all who worked tirelessly backstage making sure each actor was dressed appropriately, please know it did not go unnoticed.

Lighting design by Drew Bielinski was another aspect of the production that truly elevated the performance. The lighting was executed flawlessly and I enjoyed the creativity with respect to a variety of colors and the flashing lights to give the appearance of photographs being taken.

Conductor Jonathan McDonald lead the orchestra to fulfilment. As a violinist myself with experience playing in an orchestra pit, the performances by this orchestra were breathtaking. The talent, organization and precision that is needed to accompany actors during a live performance cannot be understated, and this orchestra catapulted Dreamgirls into a higher realm.

The Grand Theatre Company’s presentation of Dreamgirls was a very meaningful experience for me. I left the theatre with a greater understanding of and appreciation for the influence Black Americans had and continue to have on the music I love and enjoy. With a rise to diminish, even delete the contributions made by Black Americans, Dreamgirls is an opportunity to feel united through the beauty and power of music by way of wonderful local talent that deserves everyone’s applause.