Arts & Entertainment
Ready to blow the roof off
Signature brings legendary ‘Dreamgirls’ show to region
‘Dreamgirls’
Signature Theatre
4200 Campbell Ave.
Arlington, VA
Through Jan. 6
(Pride Night Dec. 7)
Tickets: start at $40
703-573-SEAT
Nova Y. Payton as Effie in Signature Theatre’s ‘Dreamgirls.’ Jennifer Holliday originated the role on Broadway. (Photo by Chris Mueller; courtesy of Signature Theatre)
Arlington’s Signature Theatre is about to tackle one of the biggest shows in Broadway and Hollywood history: “Dreamgirls.”
Director and choreographer Matt Gardiner had one word to describe his initial reaction: “daunting.” For actress Nova Payton, who will be starring as Effie White, the word was “demanding.” For costume designer Frank Labovitz, the word was “huge.”
“Dreamgirls” is a show that is often tagged with the word “legendary.” It was the last major show of legendary Broadway director and choreographer Michael Bennett. It was legendary for the backstage fights during workshops, rehearsals and previews, for the 20-minute show-stopping ovation during Act I on opening night, and for the long run on Broadway, along with numerous national and international tours. It was also legendary for the staging that featured set designer Robin Wagner’s rotating towers and for Theoni’s V. Aldredge’s dazzling costumes (both of which were featured on the show’s iconic posters).
And it was legendary for the new sounds that composer Henry Krieger brought to Broadway and for the smooth cinematic way that lyricist and bookwriter Tom Eyen wove the music and dialogue together. It became legendary for a movie adaptation that won an Academy Award for “American Idol” runner-up Jennifer Hudson in her movie debut.
“Dreamgirls” tells the story of the Dreamettes, a girl group from Chicago that rises to international fame. The plot is loosely based on the saga of Diana Ross and the Supremes and other Motown-era figures. After losing a talent competition at the famous Apollo Theatre in New York, the Dreamettes are hired as back-up singers for James Thunder Early. Spurred on by their ambitious manager Curtis Taylor, Jr., the girls break away from Jimmy and begin performing as “the Dreams.” Effie White (a character somewhat based on Supremes’ founder Florence Ballard) sings lead and her friends Deena Jones (the Diana Ross figure) and Lorrell Robinson sing back-up.
Although he is having an affair with Effie, Curtis moves Deena to the front of the group. She has a smoother sound and a slicker look that he thinks will be more appealing to white audiences, enabling the group to cross over and sell more records. Although the group does become increasingly popular, Effie is not happy singing back-up and begins to suspect that Curtis is having an affair with Deena. Her suspicions are confirmed when Curtis dumps her personally and professionally.
That’s the cue for the show’s most famous number, “And I Am Telling You I’m Not Going,” which original Effie Jennifer Holliday performed twice last year in D.C. — at Pride and with the Gay Men’s Chorus.
As Act II opens and the story moves from the 1960s to the 1970s, Curtis marries Deena, who becomes an international superstar, although she yearns to be seen as a serious actress. Jimmy falls on hard times when he rejects Curtis’ advice on how to appeal to broader audiences. Effie has a child and struggles to rebuild her career. The Dreams help usher in the disco era, and the rest is music — and musical theater — history.
Faced with this challenging material and famous predecessors, Gardiner and his collaborators have developed a fresh and exciting approach to the show.
“I spent a lot of time with our design team trying to come up with a way to do it that honored Michael Bennett’s original intention but made it our own,” he says. “At Signature, we would never be able recreate Bennett’s staging, so we are trying to find our own way into it that is more Signature.”
For example, the openly gay Gardiner notes, “Bennett and the writers really played with the idea of perspective, the change between backstage and onstage. In that original production he had the use of these beautiful towers that became iconic in the way the show is remembered. From the onset, we knew that we weren’t going to do it that way. We asked how do we play with the idea of perspective, both onstage and offstage, and the whole idea of the glamorous sparkle and what’s underneath it.” To answer that, they’ve created a more intimate approach to the musical that uses a smaller ensemble and focuses more clearly on the Dreams and their leading men.
One of the things that will give Signature Theatre’s production of “Dreamgirls” a distinctive feel is Nova Y. Payton’s highly anticipated performance as Effie White. Gardiner freely admits, “It is no secret that Signature chose the piece for her and I don’t think anyone’s going to be let down.”
Maryland native Gardiner is full of praise for his star. “She’s a wonderful person first and foremost and then on top of that she has the most killer voice. She’s a spectacular actress and a spectacular singer and we’re waiting for her to blow the roof off Signature.”
D.C. native Payton returns the praise to Gardiner. “I love Matt!” she says. “This will be second show I’ve done with him. (Their first collaboration was last season’s “Zanadu.”) Matt is brilliant. His vision of the show is very clear. In rehearsal, he’s very precise about what he’s looking for but at the same time allowing us as actors to bring what we may see. We are a team trying to put this production together and he trusts us.”
Payton also has great praise for the work of costume designer Frank Labovitz, although she won’t reveal much about the fabulous costumes she will be wearing.
“I don’t want to give away too much,” she says, “because when you think about “Dreamgirls” you think about the beautiful costumes.”
But she does praise Labovitz for his innovative design. “What excited me about Frank’s renderings was how different they were from what I’ve seen before. It’s fresh and a very new feel, but it stays true to the period. And of course there are lots of sequins and bright colors and beautiful shoes and wonderful hair and makeup. You can definitely look forward to that.”
Labovitz estimates that there are about 200 costumes in the show. The Dreams alone have 11 sets of three matching dresses, plus their individual costumes with day looks and eveningwear “It’s a constant parade of costumes,” the designer says. “If an actor isn’t onstage, he’s offstage changing clothes.” Labovitz says the costumes are almost like another character in the play. They help to tell the story, detailing the changing circumstances of the characters and capturing the feel of the rapidly changing world around them. “It’s rare that you get to work on a show where the costumes are so central to telling the story.”
The costume designer is also a big fan of Hollywood’s version of “Dreamgirls.”
“One of the things that was great about the movie was how faithful they were to the original,” he says. “The movie version really maintains the character of the show.” But he adds, there’s nothing like seeing the show in a theater. “There is something magical about watching it live. Some of the moments in the show are unbelievable, like when someone does a costume change onstage in front of you and you don’t see it happen because of tricks with lights and costumes. Those moments onstage seem to defy reality.” Like when the Dreams exit in one costume and appear onstage six seconds later in a different outfit.
The opening of “Dreamgirls” at Signature Theatre will also have a special resonance for D.C.’s LGBT community. While the show is a favorite for gay and lesbian audiences, the show’s signature song, “And I Am Telling You I’m Not Going” has long been a special favorite for drag queens in the nation’s capital and around the world. Many of D.C.’s leading ladies of drag will no doubt be rotating the song back into their act. And that’s fine with Nova Payton, who says, “I love seeing the ladies do what they do.”
Frank Labovitz also offers some advice about tackling the song: “It’s all about the attitude. It’s about owning it, about being as fiercely tenacious as you can be. It’s larger than life and it’s expressing an emotion we’re all familiar with, the idea that we’re not ready to move on yet.”
In the meantime, Matt Gardiner says theatergoers can expect one of the largest productions that Signature has ever done.
“It will blow people away,” he says.
The LGBTQ+ Victory Fund National Champagne Brunch was held at Salamander Washington DC on Sunday, April 19. Gov. Andy Beshear (D-Ky.) was presented with the Allyship Award.
(Washington Blade photos by Michael Key)
The umbrella LGBTQ sports organization Team D.C. held its annual Night of Champions Gala at the Georgetown Marriott on Saturday, April 18. Team D.C. presented scholarships to local student athletes and presented awards to Adam Peck, Manuel Montelongo (a.k.a. Mari Con Carne), Dr. Sara Varghai, Dan Martin and the Centaur Motorcycle Club. Sean Bartel was posthumously honored with the Most Valuable Person Award.
(Washington Blade photos by Michael Key)
Television
‘Big Mistakes’ an uneven – but worthy – comedic showcase
In the years since “Schitt’s Creek” wrapped up its six season Emmy-winning run, nostalgia for it has grown deep – especially since the still painfully recent loss of its iconic leading lady, Catherine O’Hara, whose sudden passing prompted a social media wave of clips and tributes featuring her fan-favorite performance as the deliciously daft Moira Rose. Revisiting so many favorite scenes and funny moments from the show naturally reminded us of just how much we loved it, even needed it during the time it was on the air; it also reminded us of how much we miss it, and how much it feels now like something we need more than ever.
That, perhaps more than anything else, is why the arrival of “Big Mistakes” – the new Netflix series starring, co-created and co-written by Dan Levy – felt so welcome. We knew it wouldn’t be the Roses, but it seemed cut from the same cloth, and it had David Rose (or at least someone who seemed a lot like him) in the middle of a comically dysfunctional family dynamic, complete with a mother who gets involved in town politics and a catty sibling rivalry with his sister, and still nebbish-ly uncomfortable in his own gay shoes. Only this time, instead of running a charmingly pretentious boutique, he’s the pastor of the local church, and instead of a collection of kooky small town neighbors to contend with, there are gangsters.
As it turns out, it really does feel cut from the same cloth, but the design is distinctly different. Set in a fictional New Jersey suburb, it centers on Nicky (Levy) and his sister Morgan (Taylor Ortega) – he openly gay with an adoring boyfriend (Jacob Gutierrez), yet still obsessive about keeping it all invisible to his congregation, and she drudging aimlessly through life as an underpaid schoolteacher after failing to achieve her New York dreams of show biz success – who inadvertently become enmeshed in a shady underworld when a gesture for their dead grandmother’s funeral goes horribly awry.
They’re surrounded by a crew of equally compromised characters. There’s their mother Linda (Laurie Metcalf), whose campaign to become the town’s mayor only intensifies her tendency to micromanage her children’s lives; Yusuf (Boran Kuzum), the Turkish-American mini-mart operator who pulls them into the criminal conspiracy yet is himself a victim of it; Max (Jack Innanen), Morgan’s live-in boyfriend, who pushes her for a deeper commitment and is willing to go to couples’ therapy to prove it; Annette, his mother (Elizabeth Perkins), who lends her society standing toward helping Linda’s campaign against a misogynistic opponent (Darren Goldstein); and Ivan (Mark Ivanir), the seemingly ruthless crime boss who enslaves the siblings into his network but may really be just another slave himself. It’s a well-fleshed out assortment of characters that helps our own loyalties shift and adapt, generating at least a degree of empathy – if not always sympathy – that keeps everyone from coming off as a merely “black-and-white” caricature of expectations and typecasting.
To be sure, it’s an entertaining binge-watch, full of distinctive characters – all inhabiting familiar, even stereotypical roles in the narrative – who are each given a degree of validation, both in writing and performance, as the show unspools its narrative. At the same time, it makes for a fairly bleak overall view of humanity, in which it’s difficult to place our loyalties with anyone without also embracing a kind of “dog eat dog” morality in which nobody is truly innocent – but nobody is completely to blame for their sins, anyway.
In this way, it’s a show that lets us off the hook in the sense that it places the idea of ethical guilt within a framework of relative evils, as it permits us to forgive our own trespasses by accepting its “lovably” amoral characters, each of whom has their own reasons and justifications for what they do. We relate, but we can’t quite shake the notion that, if all these people hadn’t been so caught up in their own personal dramas, none of them would have ended up in the compromised morality that they’re in.
However, it’s not some bleak morality play that Levy and crew undertake; rather, it’s more an egalitarian fantasy in which even “bad” choices feel justified by inevitability. Everybody’s motivations make enough sense to us that it’s hard to judge any of the characters for making the choices – however unwise – that they do. In a system where everyone is forced to compromise themselves in order to achieve whatever dream of self-fulfillment they may have, how can anybody really blame themselves for doing what they have to do to survive?
Of course, all things considered, this is more a relatable comedy than it is a morality play. As a comedy of errors, it all works well enough on its own without imposing an ideology on it, no matter how much we may be tempted to do so. Indeed, what is ultimately more to the point is how well this pseudo-cynical exercise in the normalization of corruption – for that is what it really about, in the end – succeeds in letting us all off the hook for our compromises.
In the end, of course, maybe all that analysis is too deep a dive for a show that feels, in the end, like it’s meant to be mostly for fun. Indeed, despite its focus on being dragged into the shady side of life, the arc of its messaging seems to be less about a moralistic urge toward making the “right” choice than it is a candid recognition that all of us are compromised from the outset, often by choices we only force upon ourselves, and that’s a refreshing enough bit of honesty that we can easily get on board.
It helps that the performances are on point, especially the loony and wide-eyed fanaticism of Metcalf – surely the MVP of any project in which she is involved – and the directly focused moral malleability of Ortega; Levy, of course, is Levy – a now-familiar persona that can exist within any milieu without further justification than its own queer relatability – and, in this case, at least, that’s both the icing on the cake and substance that defines it. That’s enough to make it an essential view for fans, queer or otherwise, of his distinctive “brand,” even if he – or the show itself – doesn’t quite satisfy in the way that “Schitt’s Creek” was able to do.
Seriously, though, how could it?
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