Review: Paramount’s ‘Dreamgirls’ a dream-come-true production

Get out your thesaurus because I am in pursuit of the appropriate adjectives to describe “Dreamgirls,” Paramount Theatre’s 11th Broadway Series season opener.

Let’s start with “dream.” The six-time, Tony Award-winning 1981 musical with book and lyrics by Tom Eyen and music by Henry Krieger is directed by Chicago native Christopher D. Betts. In typical Paramount fashion, the show is a spectacular and electrifying production.

A work of fiction inspired by the rise of the Motown record industry in the 1960s through 1970s, and the evolution of pop, soul, R&B and disco, “Dreamgirls” follows three Chicagoans – Effie, Lorrell and Deena (aka the Dreamettes) – who enter the Apollo Theater’s talent contest in an effort to break onto the music scene.

Cadillac car salesman Curtis Taylor Jr. signs the trio to a 10-week backup tour and eventual record label with some questionable practices; a series of events unfolds that eventually will forever change their lives. It’s a roller coaster of life, love, fame, forgiveness and dreams. And it’s clearly obvious that Diana Ross and The Supremes, James Brown and our history on the heels of the civil rights movement and discrimination against Black singers are the influencers. There is a line about the Hotel Americana in Miami Beach that perhaps drives this home best: “The place is so white, they won’t even let our boys park their cars let alone book a singer.”

The Paramount’s 15-piece exemplary orchestra conducted by Christie Chiles Twillie plays from the pit, and employs the full, original orchestration. Throughout the production, there is a magnificent fusion of projections and lighting by Mike Tutaj and José Santiago.

The cast is a dynamic powerhouse, utilizing the stairs, levels and clever turntable of Jeffrey D. Kmiec’s set design as the scenes shift from backstage to on stage. Amy Hall Garner’s choreography is inventive and fun; two of my favorites involve dancers playing horn instruments, and suited men in hats with briefcases in “Steppin’ to the Badside.” And those costumes by Samantha C. Jones are just a gorgeous and glorious cavalcade of the era’s fashions – from Nehru jackets and glittery shoes to stunning pink satin gowns and boas. I’ve never heard outfits receive so much applause before, or witnessed costume changes occur so quickly.

Of course, the stellar performances of the ensemble, 24 in number, keep this production joyous and powerful; and under the direction of Betts, well-paced. The supporting cast, especially The Tru-Tones and The Five Tuxedos (Averis Anderson, Christian Denzel Bufford, Austin Nelson Jr., Wildlin Pierrevil, Jarrett Bennett, Juwon Tyrel Perry), are just as impressive as the leads.

Denzel Deangelo Fields is a wonderful C.C., Effie’s brother and songwriter. Fields does a marvelous job proving his character is protective, talented, intelligent and a masterful singer. Joshua L. Green’s Marty is a solid vibrant character who has to deal with changing times and declining careers. He’s the one who ultimately shakes Effie back into reality with the delivery of his line: “You want all the privileges, not any of the responsibility.” And Aeriel Williams gives us Michelle, a happy and talented Dreams replacement.

If you want to witness magnetism and heartfelt acting as characters pursue their dreams, watch Lorenzo Rush Jr., Ben Toomer, Naima Alakham, Taylor Marie Daniel and Mariah Lyttle in their portrayals.

Lorenzo Rush Jr. of Berwyn as Curtis Taylor Jr.‚ the charismatic Cadillac car salesman, has stage presence: vocally, physically and expressively. He is the omnipresent and seductive thundercloud and the realization of Director Betts: “dreams seldom come without a cost.” He awes.

Ben Toomer’s Jimmy “Thunder” Early is brilliant; he’s flawless in his portrayal of the wild, flamboyant soul singer. Toomer has an outstanding vocal range and capacity for gymnastics.

Taylor Marie Daniel is delectable as Deena Jones, the beauty who grows a backbone as she transforms from an innocent backup singer to a disco diva, while Mariah Lyttle’s Lorrell is a determined, had it with a seven-year relationship love-struck character. Lyttle’s rendition of “Ain’t No Party” showcases another outstanding “where did that come from?” vocal range; she is remarkable.

And then there’s Naima Alakham as Effie, the stage-commanding diva. She has a mind-blowing set of lungs and the power to make you simultaneously tear up and develop goosebumps. Alakham’s “And I Am Telling You I’m Not Going,” that infamous 11th-hour song, lifts you from your seat while her “I Am Changing” smacks you hard in the gut. Alakham is an incredible, compelling Effie, and now I can’t remember any other Effie but her.

So with no apologies to that song and you can sing along with me here, I am telling you, you’d better be going; it’s one of the best shows I’ve ever seen, it’s truly just like a dream, you’re gonna love it.

[The musical, which runs 2.5 hours with one intermission, is suggested for ages 10 and older because of content.]

• Regina Belt-Daniels has been a fan of “Dreamgirls” since the 1984 Schubert Tour, the 2006 film and the 2010 Cadillac revival. Currently directing Elgin Theatre Company’s “I Hate Hamlet,” she can be found backstage, on stage or in the audience writing theater reviews for Shaw Media.

IF YOU GO

WHAT: “Dreamgirls”

WHERE: Paramount Theatre, 23 E. Galena Blvd., Aurora

WHEN: Wednesdays through Sundays until Oct. 16

COST: $28 to $79; four-musical subscriptions start at $56

INFORMATION: 630-896-6666, paramountaurora.com