The Walnut Street Theatre presents Tom Eyen and Henry Krieger’s Dreamgirls

With book and lyrics by Tom Eyen and music by Henry Krieger, the story follows The Dreams, a 1960s girl group (clearly inspired by The Supremes) as they rise from amateur competition hopefuls to backup singers to international superstars. But their path proves difficult, testing friendships and values.

A timeless show

Director/choreographer Gerry McIntyre (who choreographed the Walnut’s 2022 Cinderella) brilliantly executes and showcases the cost of dreams. His production masterfully balances the glitter and glam audiences expect with the emotional core that gives Dreamgirls its enduring power.

It would be easy for a show set in the 1960s music scene to lean heavily on nostalgia or feel dated, but McIntyre's production remains timeless, raising questions around authenticity versus marketability, still relevant in many different media landscapes from music to publishing to TV.

I came into this production with a lifetime of Dreamgirls appreciation. The 2006 film adaptation holds particular significance—I vividly remember sitting in a crowded theater on Christmas afternoon, surrounded by my entire family, all of us captivated by the story unfolding onscreen. So I was both eager and skeptical about the Walnut’s take. But it rose to the occasion.

A powerful cast

In her Walnut debut, Aveena Sawyer delivers a tour de force performance as Effie White, the powerful and often self-absorbed vocalist whose career trajectory takes an unexpected term. When Sawyer launches into Effie's signature number “I’m not going”, you can’t help feeling the emotion. It was a clear highlight for the opening-night crowd, who clapped, hooted, and hollered in admiration.

Gabrielle Beckford matches Sawyer’s excellence as Deena Jones, the childhood friend who usurps Effie as lead singer, and so does Khalifa White as the youthful and often naïve Lorrell Robinson. Both performers bring nuanced characterizations to roles that could easily become one-dimensional in less capable hands.

E. Clayton Cornelious also stands out, bringing charisma and audience participation to James "Thunder" Early, while Jarran Muse crafts a compelling portrait of Curtis Taylor Jr., slowly showing the insidious motivations to great form. Devin L. Roberts as C.C. White provides both beautiful singing and elegant dancing, his character a perfect moral ground for everyone around him.

Pleasing newcomers and longtime fans

In some instances, I wished the production values matched the caliber of the performances. Andy Walmsley’s set often feels spare and too minimalist for the glittery world that Dreamgirls embodies, and José Santiago's lighting design missed opportunities for dramatic enhancement during key moments. Dustin Cross's costume designs, however, deserve special mention. His use of quick changes and transformation was particularly striking in the second act, heightening the glamor as The Dreams continue to rise in their fame. Music director Chris Burcheri brings Krieger's infectious score to life. It helps fill the air and background, making up for the scenery.

For newcomers, this is a perfect introduction to an important Black show—at the time of the musical’s 1981 stage premiere, there weren’t many Broadway showcases of Black talent. Even as a Dreamgirls vet, I still found many surprises and new insights here, in a production that manages to feel both classic and fresh.