Posted: 1/3/07 at 11:40am
Heilpern from the NY Observer:
"In all the fuss and hype over the film version of Michael Bennett’s 1981 Broadway musical Dreamgirls, one big, essential thing has been forgotten—the blazing achievement of the original production. At least for me, no movie could ever capture the excitement of seeing the show: I’d never seen anything like it before (nor since).
Based on the story of the Supremes, Dreamgirls continued Broadway’s long love affair with backstage stories and showbiz as a metaphor for America, even its seamier side. (Jersey Boys is its cheap knock-off.) Michael Bennett’s spectacular daring expressed itself on many levels—not least in the show’s inner dynamic and heat, its mesmerizing sense of movement and quick changes of image, musical styles and fate. There was Henry Krieger’s smashing score—36 numbers reflecting the musical fashions of a decade—and lyricist Tom Eyen’s surprisingly hard-edged picture of corruption in the music world and what it took for black artists to cross over into the white mainstream.
And there was also the show’s now-legendary showstopper, which brought Act I to its unforgettable close when Effie is dropped from the group for a prettier, blander girl. As sung by Jennifer Holliday, “And I Am Telling You I’m Not Going” was a five-minute aria and cry of protest of such anguish and emotional power that the audience was taken to the point of explosion. Some would be so overcome they even called out to the stage, “No more! No more!”
Yet, for all those peaks, when I wrote about the premiere for the London Times all those years ago, this is what I concluded: “The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.
Four towers with Plexiglas veils and kliegs, enhanced by bridges that descended on the action, amounted to an apparently simple architectural set by its brilliant designer, Robin Wagner. The towers could turn 360 degrees with ease. But it was Bennett’s use of them that was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet. They created stages within stages. They energized the action, driving it forcefully along. It’s why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers.”
For the rest of the article, click here
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