Review of Dreamgirls at Royal & Derngate (Derngate), Northampton

The 2006 movie Dreamgirls saw powerhouse performances from the likes of Beyoncé, Jamie Foxx, Eddie Murphy and made Jennifer Hudson an instant star in her first film role. However, Dreamgirls as a stage musical is much older, premiering on Broadway 25 years earlier. So, with the presence of those huge musical stars behind them, can the performers of this UK Tour of Tom Eyen's and Henry Krieger's show live up to that lofty history?

The answer is a resounding yes, particularly at the end of the first act where Nicole Raquel Dennis gives a theatre-shaking performance of And I Am Telling You I'm Not Going in her role of Effie White. This moment alone gets many of the audience on their feet unexpectedly at the end of the first act. She is a fantastic presence on stage, brilliantly encapturing the distress in particular of having her lead singing role taken from her and her determination to gain fame.

Dreamgirls is very loosely based on the story of The Supremes' rise to fame, and Effie White forms one of the initial trio, The Dreamettes, alongside Deena Jones and Lorrel Robinson. Both Jones and Robinson were played by understudies for the performance I saw, with Holly Liburd playing Jones and Brianna Ogunbawo as Robinson. Both are great in their performances, however, Liburd struggles noticeably vocally alongside Dennis, particularly when they share a duet in the latter half of the second act. However, despite lacking power in some areas of their vocal performance, Liburd's and Ogunbawo's characterisations are both excellent.

When it comes to character, there is nothing greater than Brandon Lee Sears's scene-stealing, show-stealing performance as Jimmy Early. Larger than life doesn't really cover it as he chews the scenery, absorbs the love of the audience, and well, just is simply brilliant with vocal performance and stage presence. Matt Mills is suitably controlling as manager Curtis Taylor Jr, gaining the wrath of the audience with his drive for success causing friendships to be destroyed. The ensemble is mostly excellent, bringing Casey Nicholaw's perfectly period choreography to life with their energetic performances.

The music is, as expected, excellent, with the superb orchestra led by Simona Budd, filling the auditorium and excellent sound levels also leave you able to most of the time hear the dialogue and lyrics. The set is somewhat simplistic but functional and while there are a few issues with spots and light timing, the lighting design from Hugh Vanstone is brilliant.

There is an immense smoothness to this production, and Casey Nicholaw's direction keeps the whole show as slick as some of the hair on show. Scene changes are neat and fast, and there is a constant flow of seeing scenes in stage performance and then behind the scenes, moving smoothly from one to the other in a constant motion, leaving this a continuously moving musical.

Dreamgirls is a tremendously entertaining show and it's simply packed with a multitude of superb songs, be it the familiar One Night Only, or the simplistic, but entertaining Cadillac Car. The show without question comes recommended as it continues its run at the Royal & Derngate until Saturday, or on tour into the new year.

A dream of a stage musical.
⭐⭐⭐⭐½

Performance reviewed: Tuesday 22nd November 2022 at the Royal & Derngate (Derngate), Northampton.

Dreamgirls runs at Royal & Derngate until Saturday 26th November 2022.

For further details about the Royal & Derngate and to book tickets see their website at http://www.royalandderngate.co.uk

Production photos: Matt Crockett
(Images contain main performers and not some of those mentioned in this review.)

Review of Barnum at Milton Keynes Theatre

Barnum , with a book by Mark Bramble, lyrics by Michael Stewart, and music by Cy Coleman, premiered on Broadway in 1980 and followed in the West End just a year later. At the helm for these two productions were two huge names in the entertainment business: Jim Dale on Broadway and Michael Crawford in the West End. It needed, of course, big names to fill the shoes of the legendary P. T. Barnum, whose tale is told in this now-fondly remembered musical. Filling these boots in this new production, now pitched at Milton Keynes Theatre, is Matt Rawle, a prolific theatre performer himself, but can he, and this production, live up to the iconic greatest showman? “Step right up and enter the dazzling world of P.T. Barnum, where imagination and ambition know no bounds”, the publicity for the show announces, and this new production of the now-classic Barnum - The Circus Musical mostly ticks these boxes. Rawle is a captivating and strong presence as the lead, bringing an infectious charm to the p...

Review of Lord of the Dance at Milton Keynes Theatre

On what was so far the hottest day of the year, and the highest in many a record book, it feels a tad evil to watch as a group of extremely talented performers bring to the stage one of the most famous and most energetic dance shows to tour. However, arriving now at Milton Keynes Theatre, as part of what is now the still rather immodestly titled 30 Years of Standing Ovations tour, Lord of the Dance remains full of energy even on the hottest of evenings in Milton Keynes. I last and first saw Lord of the Dance as part of the 25 Years of Standing Ovations tour, four years ago (yes, the sums don’t quite work), and it was every bit as spectacular as you could imagine this world-famous dance show is. Born into the world from Michael Flatley and the Riverdance spectacular that preceded it, Lord of the Dance is a simple but effective battle between good and evil and the resolution of it through dance rather than fighting. The dancing here is, as expected, exceptional, led by the Lord of the...

Review of The Woman Who Cooked Her Husband at The Playhouse Theatre, Northampton

During the interval of The Woman Who Cooked Her Husband , last weeks production at The Playhouse Theatre Northampton, I got involved in a conversation between a couple sitting next to me. The lady was very much of the opinion that the play was a comedy, while the gentleman, had formed one that it was a tragedy. They were joking of course in the conversation, but it did highlight the differences that Debbie Isitt's dark comedy might have between the sexes. And also now perhaps the passing of time. When this was written in the nineties, Isitt's play was a forthright feminist play, heralding the championing over of the ladies over the man. One the ex-wife plotting to cook him, the other, the new lover, potentially already very tired of him after just three years. The husband, Kenneth (Jem Clack) elopes initially in pursuit of sex with Laura (Diane Wyman), after his nineteen years of marriage with Hilary (Corinna Leeder) has become tired and passionless. Then later, he elopes ...

A Small Mind At The Theatre

Search This Blog