Is Dreamgirls Still Coming in this season? — Page 2

BrodyFosse123 said: "The various casts of Grease would like a word.

GREASE was written as a satire and from its original 1971 Chicago production to its 1972 Off-Broadway and later Broadway productions, it has always been cast with older adults playing teenagers. That not only is the conceit of the satire concept but it was an intentional choice. They carried this older actors playing teenagers for the 1978 film adaptation but the satire tone didn’t cross over as intended. Due to this, 99% of the film’s memory is the unrealistic casting of older actors playing high schoolers as no one is/was familiar with the satire aspects of GREASE as originally written."

Not only agree, but want to add that Patricia Birch says the show doesn't work with actual teenagers--and she's right. It isn't a "teen show"--for all the adoration teens have had for it, even from the start. It's a jaded look back, snarky and spikey, but not actually mean-spirited. It's about adults looking back on their teenage years--a fact made more explicit in the stage show with the opening scene of the square adults from Rydell attending their twenty year high school reunion. I don't think that spirit is entirely missing from the film, but it is unquestionably much diluted.

Back to Dreamgirls, I just kinda don't get people wanting a revival, unless it is a recreation of the Bennet original, which itself probably wouldn't go over so well. The book is pretty bad, the lyrics aren't great, the characterizations are fairly shallow. Bennet made a classic out of hit-or-miss material and a great collection of performers and designers. I don't think a revival will show off the work to very good advantage, and will mostly appeal to those of us on the older side with a nostalgia for that first production and its original cast recording.

dan94 said: "CoffeeBreak said: "The financiers types want a new director too. More experience. I'm not sure this will happen anytime soon."

What the hell are you talking about? Tony nominee for Best Director on For Colored Girls. Direction credit on Fire Shut Up In My Bones at the Met. Has several projects in the works she's also directing. Her resume as a choreographer practicallycannot be bettered by anyone her age.

I'm really tired of reading your constant haranguing and discounting of modern director's works. Based on your many comments you clearly don't think anyone under the age of 75 can direct a musical at this point. And just two weeks ago you outright lied that Robert O'Hara had never directed a musical before La Cage. Newsflash - La Cage wasn't even his first Encores. He did the Jelly's Last Jam everyone was happy with, along with several Encores presentations in the Off-Center series.

If investors think they can find a better director, by all means. But Camille A Brown isn't inexperienced. And Casey Nicholaw is not the answer here, as he readily proved in London.

As for the audience, the movie had a little someone named Beyoncé. The audience base here is not going to be limited to senior citizens who saw the original."

Perhaps your criticism is right, but Camille Brown is a really weak argument to use. I haven’t seen anything Brown has done that makes me think she is even remotely capable of doing justice to Dreamgirls. The true genius of Dreamgirls is Michael Bennet’s direction. Giving a director with a limited resume and no experience directing a big Broadway musical is just an odd move. Let her show her vision of Dreamgirls in a regional production and see if it is worth transferring.

And don’t even get me started on her choreography for Gypsy. It was probably the worst aspect of that production.

FWIW - The sweaty one claimed yesterday that this revival is dead.

But many a show has died and then came back to life so who the heck knows.

dan94 said: "CoffeeBreak said: "The financiers types want a new director too. More experience. I'm not sure this will happen anytime soon."

What the hell are you talking about? Tony nominee for Best Director on For Colored Girls. Direction credit on Fire Shut Up In My Bones at the Met. Has several projects in the works she's also directing. Her resume as a choreographer practicallycannot be bettered by anyone her age.

I'm really tired of reading your constant haranguing and discounting of modern director's works. Based on your many comments you clearly don't think anyone under the age of 75 can direct a musical at this point. And just two weeks ago you outright lied that Robert O'Hara had never directed a musical before La Cage. Newsflash - La Cage wasn't even his first Encores. He did the Jelly's Last Jam everyone was happy with, along with several Encores presentations in the Off-Center series.

If investors think they can find a better director, by all means. But Camille A Brown isn't inexperienced. And Casey Nicholaw is not the answer here, as he readily proved in London.

As for the audience, the movie had a little someone named Beyoncé. The audience base here is not going to be limited to senior citizens who saw the original."

The truth is that some are unsatisfied and doubt her directing this. There were bigger producing names that left early on it.

Like others mention, most of her experience is choreographic- or those with money don't think so. And Gypsy was not good. Hell's Kitchen better but she was blessed (unusually so) with a 'dancing only' ensemble members which didn't help the show recoup any. She's not a bad choice to choreograph the show and help her out of the Gypsy hole.

Yes, I know Robert O'Hara directed Jelly's Last Jam in a very general production that was fine - and staged/moved well by his choreography team. Nicholas Christopher and cast were great! Because he did a stock regional-worth version of Jelly's doesn't make him a great director for musicals. La Cage, with concept, not so much. He's best directing his own work or straight forward plays, like Slave Play. There are plenty of good directors under 75 - that's ridiculous.

At the end of the day she still MAY be still at the helm - but to say that discussions have not been had otherwise (or substantial help required for her participation) would be false. There has been much turn over, changes and opinions regarding this one. And although, Nicholaw's production in the UK was fine enough, we saw it - for me, it didn't make the case for him to helm an NYC production either. Maybe this one needs an encores 'try-out' first.

Updated On: 7/3/26 at 10:24 PM

4 of the 5 nominations for Camille were in choreography. The one directing nominations was for a show that had already been directed - and she stepped in as director.

Jellicle Ball moved forward because it was good - and Bill Rauch (who came up with the idea) has sent many a show to Broadway one of which he directed and was nominated for. However, the proof was already established with the CATS products' success off-Broadway. Another reason Dreamgirls (IF Camille is still attached) -- should consider an out of town. At this point producers would be wary of anyone in that role who hasn't shown success in the same way and with the money that would be used - completely different than Colored Girls which was already basically built and proven under different direction. It's a risk - and her track record proves great worth as a choreographer - but not as a director thus far. I'd love to see her get the chance - but can understand why she is might be better reclaiming her choreography clout again, after Gypsy.

Updated On: 7/4/26 at 06:19 PM

To be fair, most of Stroman’s best work was during the years she was married. As a director, her career has floundered since THE PRODUCERS with one notable exception - THE SCOTTSBORO BOYS. She’s recognized/respected more for her choreographic work than her direction,

quizking101 said: "To be fair, most of Stroman’s best work was during the years she was married. As a director, her career has floundered since THE PRODUCERS with one notable exception - THE SCOTTSBORO BOYS. She’s recognized/respected more for her choreographic work than her direction,"

That's sort of my point. She was incredibly successful as a choreographer (same as Brown) but was just breaking into directing more (same as Brown) and ultimately found far better success as a choreographer than director (TBD on if Brown will be the same). So, the hesitancy of the backers regarding Brown makes sense.

To be clear, none of this is to say that Brown wouldn't do a fantastic job with Dreamgirls--it's simply saying she's still too green as a director to be able to fully bet on that for a production this expensive.

Updated On: 7/5/26 at 07:26 AM

Broadway61004 said: "quizking101 said: "To be fair, most of Stroman’s best work was during the years she was married. As a director, her career has floundered since THE PRODUCERS with one notable exception - THE SCOTTSBORO BOYS. She’s recognized/respected more for her choreographic work than her direction,"

That's sort of my point. She was incredibly successful as a choreographer (same as Brown) but was just breaking into directing more (same as Brown) and ultimately found far better success as a choreographer than director (TBD on if Brown will be the same). So, the hesitancy of the backers regarding Brown makes sense.

To be clear, none of this is to say that Brown wouldn't do a fantastic job with Dreamgirls--it's simply saying she's still too green as a director to be able to fully bet on that for a production this expensive."

And when is anyone allowed to no longer be green and be given a chance? Who decides? Casey Nicholaw and Jerry Mitchell have taken the same course from choreographer to director. I find the analysis of “green” to be convenient in some cases and not others.

Broadway61004 said: "Ensemble1698878795 said: "And when is anyone allowed to no longer be green and be given a chance? Who decides? Casey Nicholaw and Jerry Mitchell have taken the same course from choreographer to director. I find the analysis of “green” to be convenient in some cases and not others."

The people putting up money for the production get to decide. Are you going to invest a few million in this production? If so, you can hire Brown as the director. If not, then they have every right to say they don't feel she has enough experience."

Then don't announce her as director and puppeteer her every move. That's the producers fault not Camille's. You are only proven in this industry if you are given a chance to prove yourself. Many white creatives in this industry are given those chances time and time again and fail. Please name me the amount of Black women who are allowed to direct major musicals on Broadway besides Whitney White and Ms. Cruz. I'll wait.

Jarethan said:
If she is successful as Maria, why would she want to play Deena? Sheryl Lee Ralph was as good as anyone can be in that role, but she got nominated for a Tony only because there were not enough good candidates to fill the slots. It is a featured role.

To go from Betty Boop to Maria to Deena just does not sound like good career planning for me. Of course, I will also acknowledge that there are not as many musical roles as there were in early decades, so that may be a reason to consider Deena, e.g., where the hell has Jessie Mueller been these last years?"

Excuse you?!?!

Deena Jones is NOT a featured role. She is one of the leading roles.

And Miss Ralph didn't receive her Tony nomination because they were not enough good candidates...

She received her Tony nomination because she was pretty damn great.

How dare you diminish her contributions to this show!!!

Updated On: 7/6/26 at 12:35 PM

Observation said: "Maybe Michael Arden should just direct it?

.... kidding."



Hear me out... Jessica Stone.



Not kidding at all.

Jerry Mitchell is the only one who should direct and choreograph this.

The original production of Dreamgirls was pretty bare bones, I actually think David Rockwell would be the right person to do the set as long as he’s given the proper resources. A glitzy Derek McLane set not needed