by Sierra Pasquale
Having seen the 2006 film adaptation of Dreamgirls I was not sure what to expect from a stage production (other than being generally familiar with it). I arrived at SLOC Musical Theater with a sense of both excitement and trepidation knowing that the score is unrelenting and the characters are larger than life dynamos. This is a show that soars when handled with precision, pacing, and an eye toward balance. Unfortunately, while this production is filled with individual highlights and standout performances, the overall effect is weighed down by its relentlessness. The energy rarely flags, but the show never gives its audience space to breathe, and that ultimately becomes its undoing.
For those unfamiliar, Dreamgirls tells the story of the Dreams, a female singing trio whose rise to stardom mirrors the cultural and racial shifts of 1960s and 70s America. At its heart, it is a tale about ambition, artistry, betrayal, and the cost of success. With music by Henry Krieger and lyrics and book by Tom Eyen, it is packed with powerhouse numbers; songs that are iconic, demanding, and, in the right hands, electrifying. Many will remember Jennifer Holliday’s torch song “And I am Telling You” and the poppy “One Night Only”.
From the opening notes, this production comes at the audience fast and furious. The pacing is relentless, with scene changes tumbling into each other at a dizzying speed. While that propulsive drive mirrors the chaotic rise of the Dreams in the music industry, it also flattens the show’s emotional landscape. Dreamgirls needs moments of pause, beats of silence, reflection, and intimacy, to offset its soaring highs. Without them, the two hour and forty-five minute runtime feels longer, not shorter, as the show barrels forward without modulation.
Still, within that torrent of sound and motion, there are moments of brilliance. Chief among them is Zach Kaiser playing Jimmy Early, who delivers a show-stealing performance. Jimmy is a tricky role; part James Brown dynamo, part tragic cautionary tale. Here, he is portrayed with a perfect blend of energy, humor, and pathos. Every time he hit the stage, the show jolted to life. His vocal bravura, physical comedy, and sheer charisma drew the audience in, and his eventual downfall resonated because he made Jimmy so much more than a caricature. He was the pulse of this production.
The Dreams (Janae-Marie Smith as Effie White, Alanna Aleece as Dena Jones, Kiessence Polk as Lorrell Robinson and, later, Ki’Mari Lavender as Michelle Morris) sang with beauty and conviction. Vocally, the leads were more than up to the task. Janae-Marie Smith’s “And I Am Telling You I’m Not Going” landed with the force one hopes for that drew mid-show applause. But again, because the production rarely allowed for quiet reflection before or after such numbers, the emotional aftershock dissipated too quickly.
Directionally (Mani Velvet McCalmon), the choice to keep the pacing so unrelenting seemed deliberate, an attempt to sustain momentum and mirror the relentless churn of the entertainment industry. Yet, it cost the production nuance. A show as emotionally layered as Dreamgirls needs contour. Without valleys, the peaks lose their impact. The audience deserves, and frankly, needs, time to absorb the betrayals, heartbreaks, and reconciliations that drive the story forward.
Technically, the production was polished. Costumes (Sean T. Baldwin) captured the glamour of the era, with gowns that gleamed under sharp lighting design (Haley Kastler). The band handled the demanding score with aplomb, though at times the balance tipped too far, leaving singers fighting to be heard.
The ensemble deserves praise for their stamina and commitment. The supporting roles fleshed out the world of the Dreams with vigor, even if the show’s pacing left little time for them to establish distinct identities.
One cannot fault the cast for the production’s shortcomings. Their work was strong, often excellent. The issue lies in the broader conception of the piece. By pushing the show forward at breakneck speed, SLOC Theater’s Dreamgirls left me impressed by its energy but unmoved by its heart. Theater is not only about propulsion; it is about rhythm, and rhythm requires both drive and rest.
That said, there is much to recommend. If you are new to Dreamgirls, this production provides an energetic introduction to its iconic score and story. If you are already a fan, you will appreciate individual performances.
In the end, Dreamgirls at SLOC Theater is a paradox: a production filled with undeniable talent and standout moments that nevertheless leaves one exhausted rather than exhilarated. It dazzles, it pushes, it rarely stops.
SLOC Theater presents Dreamgirls, with music by Henry Krieger, lyrics and book by Tom Eyen, Director: MANI VELVET McCALMON, Music Directors: MICHAEL CAMELO & ALEX WALLEY, Choreographer: MAHOGANY AKITA, Producer: MICHAELA TORRES, Stage Manager: SARA FREDERICKS, running September 12-21. Featuring Effie White: JANAE-MARIE SMITH, Deena Jones: ALANNA ALEECE, Lorrell Robinson: KIESSENCE POLK, Michelle Morris: KI’MARI LAVENDER, Curtis Taylor Jr: LEO D’JUAN, Jimmy Early: ZACH KAISER, C.C. White: DARYL HIRSCHFELD, Marty Madison: KAY WHELAN, Ensemble: TIFFANNY ARROYO, CLAUDIA BERTASSO, ARIANNA DREHER, BENJI HITRICK, ELIJAH KALINOWSKI, ELLA MBOMA-DORVIL, MAKAI MCCLINTON, SPARKEI MCCLOUD, JUSTIN NADAL AMANDA ODUM, KOFI OPOKU-ANING, IMANI PAYNE, OLIVIA PIEROTTI, THEO RABII, TAYLOR RAMSEY, REGINA ROBINSON, NIKKI SANDERS, JASMINE SOLANA, JALISSA WATSON. Run time is approximately 2 hours, 45 minutes with one intermission. Tickets available online at https://sloctheater.org/project/dreamgirls/ or at the box office SLOC Musical Theater, 427 Franklin Street, Schenectady, NY 12305-1901. 518-730-7370.