Arts & Entertainment
First rate ‘Dreamgirls’ wows
Signature production full of unexpected delights, performances
‘Dreamgirls’
Signature Theatre
4200 Campbell Avenue, Arlington
Extended through Jan. 13, 2013
Tickets start at $40
Shayla Simmons, center, as Deena in ‘Dreamgirls.’ Nova Y. Payton, left, as Effie, and Crystal Joy as Lorrell, back her up. (Photo by Chrisopher Mueller; courtesy of Signature Theatre)
The production of “Dreamgirls” now onstage at Signature Theatre is a dazzling delight, a stunning reexamination of an iconic American musical. Talented director and choreographer Matthew Gardiner and his creative team skillfully rethink the show from the ground up, bringing great clarity, intensity and emotional depth to this powerful production, along with lots of sequins and theatrical magic.
“Dreamgirls,” which debuted on Broadway in 1981, was the last great work by legendary Broadway director and choreographer Michael Bennett, who died of complications from AIDS in 1987. The musical, with a sizzling score by Henry Krieger and strong book and lyrics by Tom Eyen, tells the story of the Dreams, a girl group from Chicago (loosely based on Diana Ross and the Supremes) who rise to international music stardom.
The show opens in 1962 when the “Dreamettes” lose a talent contest at the famous Apollo Theatre in New York City, but win a contract as back-up singers for the popular R&B star James “Thunder” Early. They also acquire a manager, used-car salesman Curtis Taylor, Jr., who has big plans for the group. Repackaged as the “Dreams,” the girls soon break out on their own. Curtis moves back-up singer Deena Jones into the lead, hoping that her sexy looks and sultry voice will attract a mainstream (i.e. white) audience. Despite the personal and professional cost to Effie White, the full-bodied and full-voiced original lead singer, “Deena Jones and the Dreams” conquer the charts.
Gardiner, the openly gay associate artistic director of Signature Theatre, brings a fresh eye to this well-known material. His work throughout is richly nuanced, alternating between the spectacular precision of big production numbers and the detailed intimacy of backstage numbers and book scenes. One of the great joys of this production is the sheer variety of performance styles that Gardiner deploys with great confidence and effectiveness: the slick polish of the onstage production numbers, the girls nervously making up the steps the first time they perform with Jimmy, Curtis prompting C.C. (Effie’s brother and the group’s songwriter) as they convince Jimmy to listen to their new sound, the eloquent staging of the group dynamics in “Family,” the elegant simplicity of Effie’s torch rendition of “One Night Only” followed by Deena’s delightfully boisterous disco rendition of the same song. Gardiner captures the full sweep of this classic American story by nailing down all the details.
Gardiner’s sure-footed work is made possible by the outstanding contributions of the design team of Frank Labovitz (costumes), Adam Koch (sets) and Chris Lee (lights). Labovitz’s splendid cavalcade of costumes is an ongoing visual treasure. His beautiful designs help tell the story by tracking the passing years and the changing circumstances of the characters and do so with great visual flair. Koch’s two-tiered set design lets the action move fluidly from backstage to onstage at various performances venues around the country. The set changes are as carefully choreographed as the other movements and just as much fun to watch (although the occasional wobbling of the central hydraulic platform can be a little scary and distracting). Lee’s light design is equally stunning, and together, the design team creates an appealing and highly theatrical whirlwind of shifting perspectives, lighting magic and quick changes.
But any production of “Dreamgirls” depends on its Effie, and Signature Theatre is blessed with the amazing powerhouse performance of D.C. native Nova Y. Payton. Following in the wake of superstars like Jennifer Holliday (a Tony winner in the original Broadway production), Jennifer Hudson (who won an Oscar for her performance in the movie) and Lilias White (who wowed audiences in the famous concert recording), Payton makes the role thoroughly and completely her own. Her work in this show is simply stunning, full of fascinating choices and fresh insights. She purrs when you might expect her to roar, and when she does roar, she blows the roof off the theater.
Payton’s richly detailed acting captures every aspect of the complex character: her love of performing, her prickly pride and deep resentments, her self-destructive tantrums and brave persistence in the face of adversity. Her performance of the show’s signature number “And I Am Telling You I’m Not Going” is devastating in its soaring delivery and its searing pain and vulnerability. In an evening of striking images, the most indelible is a deeply wounded Effie turning to watch the reconstituted Dreams perform without her on the balcony above her. It is a moment of brilliant stagecraft.
Payton’s dynamite performance is matched by Cedric Neal as James “Thunder” Early, who finds unexpected depths in a flashy character inspired by James Brown. His Jimmy is a man of deep passion for his music and for the ladies in his life. His direct interactions with the audience are a bold and delightful choice and his onstage meltdown is a moving spectacle of pride, defiance and self-destruction.
As the third member of the Dreams, and Jimmy’s mistress, Crystal Joy is wonderful as Lorrell Robinson, who tries to play peacemaker between the warring backstage factions. She brings sass, humor and style to a character that can easily fade into the background. Joy subtly builds Lorrell from a star-struck teenager to a mature woman, and her love for Jimmy is as deeply heart-felt as her frustration with his refusal to leave his wife. Shayla Simmons brings similar strengths to her winning performance as Deena, especially in capturing her shifting relationship with Effie and in fleshing out her development from back-up singer to reluctant lead to world-class diva.
It’s magical when first-rate material gets a first-rate production, and that is certainly the case with this show. Krieger and Eyen have created a clear-eyed yet loving portrayal of the joys of performing and the perils of show business, and a rich exploration of the challenges facing black performers when Motown became mainstream. Signature Theatre has taken a great leap with this re-invention of this ambitious musical, and that leap has certainly paid off.
Movies
‘Things Like This’ embraces formula and plus-size visibility
Enjoyable queer romcom challenges conventions of the genre
There’s a strange feeling of irony about a spring movie season stacked with queer romcoms – a genre that has felt conspicuously absent on the big screen since the disappointing reception met by the much-hyped “Bros” in 2022 – at a time when pushback against LGBTQ visibility is stronger than it’s been for 40 years.
Sure, part of the reason is the extended timeline required for filmmaking, which tells us, logically, that the numerous queer love stories hitting theaters this year – including the latest, the Manhattan-set indie “Things Like This,” which opened in limited theaters last weekend – began production long before the rapid cultural shift that has taken place in America since a certain convicted fraudster’s return to the White House.
That does not, however, make them any less welcome; on the contrary, they’re a refreshing assertion of queer existence that serves to counter-balance the hateful, politicized rhetoric that continues to bombard our community every day. In fact, the word “refreshing” is an apt description of “Things Like This,” which not only celebrates the validity – and joy – of queer love but does so in a story that disregards “Hollywood” convention in favor of a more authentic form of inclusion than we’re ever likely to see in a mainstream film
Written, starring, and directed by Max Talisman and set against the vibrant backdrop of New York City, it’s the story of two gay men named Zack – Zack #1 (Talisman) is a plus-sized hopeful fantasy author with a plus-sized personality and a promising-but-unpublished first novel, and Zack #2 (Joey Pollari) an aspiring talent agent dead-ended as an assistant to his exploitative “queen-bee” boss (Cara Buono) – who meet at an event and are immediately attracted to each other. Though Zack #2 is resigned to his unsatisfying relationship with longtime partner Eric (Taylor Trensch), he impulsively agrees to a date the following night, beginning an on-again/off-again entanglement that causes both Zacks to re-examine the trajectories of their respective lives – and a lot of other heavy baggage – even as their tentative and unlikely romance feels more and more like the workings of fate.
Like most romcoms, it relies heavily on familiar tropes – adjusted for queerness, of course – and tends to balance its witty banter and starry-eyed sentiment with heart-tugging setbacks and crossed-wire conflicts, just to raise the stakes. The Zacks’ attempts at getting together are a series of “meet-cutes” that could almost be described as fractal, yet each of them seems to go painfully awry – mostly due to the very insecurities and self-doubts which make them perfect for each other. The main obstacle to their couplehood, however, doesn’t spring from these mishaps; it’s their own struggles with self-worth that stand in the way, somehow making theirs more of a quintessentially queer love story than the fact that both of them are men.
All that introspection – relatable as it may be – can be a downer without active energy to stir things up, but fortunately for “Things Like This,” there are the inevitable BFFs and extended circle of friends and family that can help to get the fun back on track. Each Zack has his own support team backing him up, from a feisty “work wife” (Jackie Cruz, “Orange is the New Black”) to a straight best friend (Charlie Tahan, “Ozark”) to a wise and loving grandma (veteran scene-stealer Barbara Barrie, “Breaking Away” and countless vintage TV shows) – that fuels the story throughout, providing the necessary catalysts to prod its two neurotic protagonists into taking action when they can’t quite get there themselves.
To be sure, Talisman’s movie – his feature film debut as a writer and director – doesn’t escape the usual pitfalls of the romcom genre. There’s an overall sense of “wish fulfillment fantasy” that makes some of its biggest moments seem a bit too good to be true, and there are probably two or three complications too many as it approaches its presumed happy ending; in addition, while it helps to drive the inner conflict for Zack #2’s character arc, throwing a homophobic and unsupportive dad (Eric Roberts) into the mix feels a bit tired, though it’s hard to deny that such family relationships continue to create dysfunction for queer people no matter how many times they’re called out in the movies – which means that it’s still necessary, regrettably, to include them in our stories.
And in truth, “calling out” toxic tropes – the ones that reflect society’s negative assumptions and perpetuate through imitation – is part of Talisman’s agenda in “Things Like This,” which devotes its very first scene to shutting down any objections from “fat shamers” who might decry the movie’s “opposites attract” scenario as unbelievable. Indeed, he has revealed in interviews that he developed the movie for himself because of the scarcity of meaningful roles for plus-sized actors, and his desire to erase such conventional prejudices extends in every direction within his big-hearted final product.
Even so, there’s no chip-on-the-shoulder attitude to sour the movie’s spirit; what helps us get over its sometimes excessive flourishes of idealized positivity is that it’s genuinely funny. The dialogue is loaded with zingers that keep the mood light, and even the tensest scenes are laced with humor, none of which feels forced. For this, kudos go to Talisman’s screenplay, of course, but also to the acting – including his own. He’s eminently likable onscreen, with wisecracks that land every time and an underlying good cheer that makes his appeal even more visible; crucially, his chemistry with Pollari – who also manages to maintain a lightness of being at his core no matter how far his Zack descends into uncertainty – isn’t just convincing; it’s enviable.
Cruz is the movie’s “ace in the hole” MVP as Zack #2’s under-appreciated but fiercely loyal bestie, and Buono’s hilariously icy turn as his “boss from hell” makes for some of the film’s most memorable scenes. Likewise, Tahan, along with Margaret Berkowitz and Danny Chavarriaga, flesh out Zack #1’s friend group with a real sense of camaraderie that should be recognizable to anyone who’s ever been part of an eclectic crew of misfits. Trensch’s comedic “ickiness” as Zack #2’s soon-to-be-ex makes his scenes a standout; and besides bigger-name “ringers” Roberts and Barrie (whose single scene is the emotional climax of the movie), there’s also a spotlight-grabbing turn by Diane Salinger (iconic as Francophile dreamer Simone in “Pee-Wee’s Big Adventure”) as the owner of a queer bar where the Zacks go on one of their dates.
With all that enthusiasm and a momentum driven by a sense of DIY empowerment, it’s hard to be anything but appreciative of “Things Like This,” no matter how much some of us might cringe at its more unbelievable romcom devices. After all, it’s as much a “feel-good” movie as it is a love story, and the fact that we actually do feel good when the final credits role is more than enough to earn it our hearty recommendation.
Friday, May 23
“Center Aging Monthly Luncheon and Yoga” will be at 12 p.m. in person at the DC Center for the LGBT Community. For more details, email [email protected].
Trans Discussion Group will be at 7 p.m. on Zoom. This group is intended to provide an emotionally and physically safe space for trans people and those who may be questioning their gender identity and/or expression. For more details, email [email protected].
Go Gay DC will host “LGBTQ+ Community Happy Hour” at 7 p.m. at DIK Bar. This event is ideal for making new friends, professional networking, idea-sharing, and community building. This event is free and more details are available on Eventbrite.
Saturday, May 24
Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar and Restaurant. This fun weekly event brings the DMV area LGBTQ community, including Allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.
Black Lesbian Mixer will be at 11 a.m. on Zoom. This is a support group dedicated to the joys of being a Black lesbian. For more details, email [email protected].
Sunday, May 25
“The Queen’s Table: A Women’s Empowerment Brunch” will be at 11 a.m. at Zooz. This event will celebrate queer women’s strength. For more details visit Eventbrite.
Monday, May 26
“Center Aging Monday Coffee and Conversation” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more details, email [email protected].
Tuesday, May 27
Genderqueer DC will be at 7 p.m. on Zoom. This is a support group for people who identify outside of the gender binary. Whether you’re bigender, agender, genderfluid, or just know you’re not 100 percent cis — this is your group. For more details, visit genderqueerdc.org or Facebook.
Coming Out Discussion Group will be at 7 p.m. on Zoom. This support group is a safe space to share experiences about coming out and discuss topics as it relates to doing so. For more details, visit the group’s Facebook.
Wednesday, May 28
Job Club will be at 6 p.m. on Zoom. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit thedccenter.org/careers.
Thursday, May 29
The DC Center’s Fresh Produce Program will be held all day at the DC Center for the LGBT Community. To be fairer with who is receiving boxes, the program is moving to a lottery system. People will be informed on Wednesday at 5 p.m. if they are picked to receive a produce box. No proof of residency or income is required. For more information, email [email protected] or call 202-682-2245.
Virtual Yoga with Charles M. will be at 7 p.m. on Zoom. This is a free weekly class focusing on yoga, breathwork, and meditation. For more details, visit the DC Center for the LGBT Community’s website.
Photos
PHOTOS: Helen Hayes Awards
Gay Men’s Chorus, local drag artists have featured performance at ceremony
The 41st Helen Hayes Awards were held at The Anthem on Monday, May 19. Felicia Curry and Mike Millan served as the hosts.
A performance featuring members of the Gay Men’s Chorus of Washington and local drag artists was held at the end of the first act of the program to celebrate WorldPride 2025.
The annual awards ceremony honors achievement in D.C.-area theater productions and is produced by Theatre Washington.
(Washington Blade photos by Michael Key)
‘Things Like This’ embraces formula and plus-size visibility
Calendar: May 23-29
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