Ensemble cast pulls off a blockbuster
By Kenya Vaughn
For the St. Louis American
Everyone who follows the music or performing arts scene in St. Louis has been anticipating the opening of Dreamgirls, the Black Rep’s final production of their 29th mainstage season since they announced their 2006 schedule of shows last spring.
And the Black Rep pulled out all of the stops to make sure that St. Louis’ Dreamgirls experience was something that wouldn’t soon be forgotten, including a red-carpet premiere party featuring the who’s who of St. Louis that rivaled those of New York or Hollywood. (See picture page on 14A.)
From the opening number performed by ensemble cast members that simulated an Apollo Amateur Night, it was apparent that Dreamgirls would be jam-packed with extraordinary talent.
In a story that follows three young girls and the ups and downs along their bumpy ride down the road of show business, three newcomers to the Black Rep had the responsibility of being the primary vessels through which the story of the Dreams are told. Jia Taylor is Deena, the pretty and reserved one, while Malkia Stampley plays Lorrell the peacemaker who is caught in the middle between her other group members. Rochelle “Coco Soul” Walker later joins the group as Michelle.
The show rests, however, on the shoulders and voice of the Effie character. Willena Vaughn was charged with tackling the larger than life persona and super powerhouse voice made famous by Jennifer Holiday. Vaughn was a strong Effie and was extremely well received by the audience. She seemed to put any doubts they may have had about her tackling such a demanding role to rest and had the entire house on its feet when she sang “(And I’m Telling You) I’m Not Going” at the end of act one.
Taylor’s vocals were not as strong as the other girls’. Even though casting of a weaker singer was strategic for reasons that unfold later in the storyline, it would have been nice for her to have a little more power and soul behind her voice. Stampley had a nice sound, but some of the parts sounded as if they were a bit high for her range.
Although the women (especially Vaughn) will probably get all of the glory for their performances, the men were the backbone of the show. From Kelvin Roston Jr. as baby brother songwriter C.C. to Drummond Crenshaw as seasoned music agent Marty, they had a presence and connection and unselfishly worked together to make sure that everyone had a turn to shine. J. Samuel Davis as Curtis and Jahi Kearse were the standouts among the male leads.
Davis, who is St. Louis theatre’s best kept secret, played the slimy, sleazy protagonist who cheated, stole and manipulated his way to the top of the music scene. But his natural charisma and silky tenor voice managed to make the audience love him more than the good guys.
The wow factor performance of Dreamgirls undoubtedly went to Jahi Kearse. From the minute he stomped across the stage as Jimmy, in a ladies’ man conk, hot fire-red gators and paisley silk robe, it was obvious that his character would be one to remember. He was a Little Richard and James Brown hybrid with a touch of Johnny Taylor, whose vocal trills and runs left jaws on the floor. His imitation of Brown’s signature floor slide was so exact that it looked like Kearse’s ankles rotated 360 degrees.
The ensemble cast were the unsung heroes of the production. Every performer was an apparent triple-threat who acted, sang and danced on command. Many people may not have noticed, but there was a show within the show when cast members Christopher Page and Christi Strickland engaged in an all-out battle of the hams in an attempt to make the most of their small roles.
If Page would shout, Strickland would shout and jump; if Strickland would shout and jump, Page would shout, jump and shake. This back-and-forth came to head a scene when the two were paired up as dance partners. Watching them try to out-do each other, maintain a connection and mesh as a team was hilarious.
The production elements were just as dazzling as the performances. Felix Cochren’s set was as elaborate as Motown Revue Tour concert stage from the 1960’s. By creating a reversible dress that allowed Effie to do a wardrobe transformation right before the crowd’s eyes for the “I am Changing” number, Gregory J. Horton can be considered the David Copperfield of costume design. And Charles Creath’s music was just as powerful as the voices it accompanied.
Dreamgirls wraps up The Black Rep’s season 29 with a sonic boom bang and has set the tone for next year’s year-long 30th anniversary celebration. “Season 30: The Black Pearl” will feature some of the Black Rep’s most popular productions, including The Wiz, Ain’t Misbehavin’ and the comedy Dance on Widow’s Row.
The Black Rep’s production of Dreamgirls continues through July 2 at the Grandel Theatre, 3610 Grandel Square. For tickets or information, call (314) 534-3810.
