E ducational S tudy G uide

T H E A T R E U N D E R T H E S T A R S
8 0 0 B A G B Y , S U I T E 2 0 0
H O U S T O N , T E X A S 7 7 0 0 2
 SECTION ONE: Introduction
Page 1: Brief History of TUTS
Page 1: Purpose of Study Guides

SECTION TWO: Musical Theatre 101

Page
Page
Page
2: What is Musical Theatre?
2: History of Musical Theatre
3: History of Musical Theatre (cont.)
Table
of
Page 3: How to Make a Musical
Page 4: Jobs on a Production Team
Page 5: Jobs on a Production Team
Page 5: Stage Diagram
Page 5: Why is Musical Theatre Important?

Contents
Page 6: Glossary of Terms
Page 7: Theatre Etiquette
Page 8: How About Trivia
Page 9: Review Questions
Page 10: Review Activities

SECTION THREE: About the Show

Page 11: Show Background

The Creative Team Dreamgirls
Page 12: Character & Song List Educational Study Guide
Page 13: Show Synopsis

SECTION FOUR: Middle & High School Curriculum Theatre Under The Stars
Houston, Texas
Page 14: Digging A Little Deeper
Literary Terminology
Discovering the Plot
Discovering the Historical Context
Written by
Page 15: Discovering the Theme Shay Thornton
Discovering the Symbolism
Page 16: Get Creative!
a. Two Thumbs Up! c. You Are The Playwright
b. Test Your Knowledge d. You Are The Actor

SECTION FIVE: Supplemental Material

Page 17: Mini Quiz Hand-out

Page 18: Mini Quiz Answer Key
Page 19: More Material
a. First Review
b. “Family” Lyrics
c. Dreamgirls Websites
d. General Websites
Page 20: Second Review

x -- Table of Contents -- Dreamgirls Study Guide-- Theatre Under The Stars

Section
1I n t r o d u c t i o n
History of Theatre Under The Stars
Founded in 1968, Theatre Under The Stars (TUTS, http://www.tuts.com) is currently under the direction of President and
CEO John C. Breckenridge. TUTS was the first theatrical organization in Houston to perform free to the public in 1968 at Miller
Outdoor Theatre in Hermann Park, and is the only Houston arts organization that has performed there free to the public every year
since the building opened. Since its founding by Frank M. Young, TUTS has produced more than 275 musicals including many local,
national and world premieres and is currently represented on Broadway with Disney’s Beauty and the Beast. TUTS is also noted for
mounting many International tours, including Debbie Reynolds in The Unsinkable Molly Brown, Juliet Prowse in Mame, Robert
Goulet in Man of La Mancha, and the Tony Award-winning revival of Carousel.
As a way to continue the tradition of musical theatre, TUTS’ Humphreys School of Musical Theatre provides instruction and
stage experience for more than 1,700 students annually. Since 1972, Theatre Under The Stars’ Humphreys School of Musical
Theatre has provided a superb and thrilling forum for musical theatre training for children and adults. Housed at the Hobby
Center for the Performing Arts, The Academy and The Studio at TUTS allow students to flourish in a year-round schedule of classes.
Conducted by an outstanding professional faculty and renowned resident artists who inspire and train students in every aspect of
musical theatre, TUTS’ Humphreys School of Musical Theatre offers everything from vocal technique and choreography to costume
design and prop construction. Specifically designed for the career-track student, The Academy offers Intermediate and Advanced
Studies in Tap, Ballet/Jazz, Voice and Theory, Acting, Musical Theatre Workshop, and Directing. The Academy at TUTS gives stu-
dents numerous opportunities to put their training to work in performance, with a final showcase at the end of each semester.
Open to babies, teens, and the young at heart, The Studio offers a variety of classes for those on a non-audition basis. The Studio
at TUTS is an exciting program for learning and fun that includes early morning and evening classes, Saturday workshops and sum-
mer and winter camps.TUTS also annually presents the Tommy Tune Awards, honoring the best and brightest in Houston’s high
school musical theatre programs.

Purpose of Study Guides

TUTS has designed online study guides such as this one to enhance students' theatrical experiences. Using the guide,
teachers can encourage their students to explore both the story and the production elements of the show. Live theater can enrich
young peoples’ lives like few other experiences. The study guides contain various discussion questions, projects, and activities that
allow students to engage in literary analysis, historical research, and personal reflection. TUTS' hope is that these young people
will be able to gain a greater understanding and appreciation for musical theatre.

“ No child is fully educated or adequately prepared to live

in an increasingly technological world without understanding
the meaning and beauty transmitted by the arts.”

J.P. Getty Trust

Beyond Creating a Place for Art in America’s School, 1985

1 -- Introduction -- Dreamgirls Study Guide-- Theatre Under The Stars

Section
2Musical Theatre 101
What is Musical Theatre?
Musical theatre establishes as the only genre of theatre that fully encompasses acting, singing, and dancing all to further
the development of the plot. This differs from traditional theatre because the plot is enhanced by the addition of singing and
dancing not just supplemented like it is in 'straight' plays. To better understand musical theatre as a whole, and audience member
must understand the importance of these three elements. A cast member in musical theatre, who is talented at acting, singing,
and dancing, is called a triple threat because they have mastered those three areas. Watching musical theatre, one must be care-
ful to try to appreciate everything occurring on stage so they can understand what the director tried to do with the show.

History of Musical Theatre?

Musical theatre's history stretches far beyond the limits one might assume. In fact, evidence suggest elements of this art
form were used over 2500 years ago! During the 5th century B.C.E. most plays in Greece were set up with one to three actors and
a chorus that responded to what the characters did. Both the actors and the chorus sang lyrics throughout the play. The actors
incorporated not only the dialogue and song, but dance in their parts as well. Grecian theatre can be divided into three main gen-
res that all employ music and dance. Tragedy required a slow and graceful dance called the emmeleia, comedy used a more fast
paced danced known as the kordax, and satyr plays (used for poking fun at a belief of the time) used a dance called the sikinnis
that mocked tragedy's dance. Although, this all probably seems far-fetched for most, Grecian humor transcends time and elements
of it are used still today! For example, did you think the crude body jokes and off-color humor used in sit-coms developed in
ancient Greece? If not, think again. Tons of the guttural humor we laugh at today has been used for thousands of years. Although
humor has remained the same over the years, most everything else concerning musical theatre has changed.
After the Greeks were taken over by the Romans during the Peloponnesian War, the popularity of theatre declined. The
Romans, known for their military genius and stoic nature, didn't care much for theatre. The Middle Ages were not a particularly
bright time for theatre, either. Performers often went from city to city performing for
whomever, wherever. However, they were not always well received. A good example of
this is the misconception at one time that these performers brought the plague with
them, and no one would allow them admittance into the city gates. Musical theatre still
managed to advance in this time period through the church. Although the history
between the Roman Catholic Church and theatre is touchy at best, the Church used the-
atre to transmit it's messages to the illiterate masses. Most people did not know Latin,
the official language of the Church, so clever monks started adding music and art to
spread their faith. This went even further when cycle plays developed. A cycle play is a
biblical story that has been chopped up and divided between different groups. Each
group would have a pageant wagon (a stage on wheels) and they would move about the
city depicting biblical stories. Once one group was done the next part of the story
would start. This caused religion not only to be widespread, but also entertaining. The
cycle plays helped increase the popularity of theatre, which would soon skyrocket.
The Renaissance, which in French literally means "rebirth", reawakened the
public to the arts. Throughout Europe technological, literary, and stylistic advances
were occurring to appease the audience of the day. One of the most famous playwrights
of all time, Moliere, shows this. King Louis XV demanded a further reaching entertain-
ment, and called on Moliere to reformat his plays to do this. Moliere added music and
dance to his shows making his farcical style, song, and dance appease the king's taste
during the 1600s. This style grew and by the 1700s there were two main divisions of it:
the ballad opera and comic opera. The ballad opera used popular songs of the day with
new lyrics, while the comic operas had original scores and a more romantic plot development. Both these styles flourished, and
the idea of incorporating music into plays grew and grew.
The birth of the musical as we know it did not occur until 1866 in New York City. A theatre manager and producer, William
Wheatley, was worried about his upcoming show, which he described as a boring melodrama. Looking for something to add excite-
ment (and sell tickets) Wheatley jumped when he noticed the Academy of Music burnt down in a fire leaving their performers job-
less. Wheatley and the collaborators at the Academy of Music joined together to mix the play Wheatley was producing and the bal-
let dancers that were scheduled to perform at the Academy. Combining the two together in a performance called The Black Crook,
audiences were astounded at the integration of music, dance, and theatre making the popularity of this art form boom.
In the 1920's musical theatre faced its first big test. Film had just begun and was already starting to gain popularity. What
was theatre going to do with this medium stealing their audience? They kept seats filled by retaliating with emphasizing theatre's
stars, bigger dance routines, and adding in popular songs to all increasing the spectacle of the performances. This, howev-
er, caused the budget to increase and when the Great Depression hit in 1929 very few could afford the theatre.
2 -- Musical Theatre 101 -- Dreamgirls Study Guide-- Theatre Under The Stars
 History of Musical Theatre? (cont.)
The theatre lived on, however, and in the 1940's the Golden Age of musical theatre began with Rodger and Hammerstein's
Oklahoma!. This is the first piece to really incorporate dance into the plot line of the musical- which happened almost by accident. The
Theatre Guild, a controlling producing agency, went bankrupt so Rodgers and Hammerstein received full artistic control. The pair took
many chances including hiring the modern dance choreography, Agnes DeMille. Since the characters were cowboys and farm girls, the
idea of them expressing their emotions through words seemed awkward. Choreographer, Agnes DeMill, used everyday motions to
express their ideas including butter churning- not traditional showgirl dancing. Opening night proved the musical a success and is now
thought of as the quintessential musical theatre piece.
Musicals still continued to evolve. After the success of Hair (1968), the 1970's continued to use rock influence music in their
production. One example Grease became so famous that it has turned into a classic movie. Also the 1970's started an increase in the
appearance of African American issues and themes. Both Dreamgirls and The Wiz are known for their reflecting of the changing social
climate where diversity became more and more encouraged. The 1980's and 1990's brought along the rise of the "mega musicals".
These incorporated larger casts, pop influenced scores, and an increase in the value upon special effects. Audiences were wowed with
The Phantom of the Opera's falling chandelier in 1986. The increase in spectacle had many implications, however. Now it has become
impossible for a single individuals to fund shows, so more and more corporations are getting involved. The increased cost also meant
that ticket prices would increase. The price increase changed the status of theatre to a more upper class activity. Jonathon Larson's Rent
tried to change this when he added heavily stylized rock music and a young cast. The 21st century has brought on a combination of
many revivals and new styles to musical theatre. The revivals of shows provide almost a guarantee to producers that people will support
the show, but new shows stretch the limits of theatre. Avenue Q is a new production where adult themed material is performed with pup-
pets. Overall, musical theatre has had an interesting past, but the future seems just as unique.

How to make a Musical in 10 steps?

1) Pick the PERFECT musical! To do this you need to evaluate if audiences will like it, how much it costs, and if you can secure the rights
to do the show. Sometimes you can't secure the rights to a musical if the licensing company thinks too many people are performing it in an
area or if it is on Broadway.

2) Plan a BUDGET! Understanding how much you can spend on salaries, sets, costumes, musicians- while still paying bills to rent the the-
atre, pay the box office workers, and general upkeep is crucial to putting your musical up.

3) Secure the CREATIVE team! This goes beyond just the director (although they are important too), a musical needs a choreographer,
music director, conductor, set designer, prop master... (the list goes on and on)!

4) Have a PRODUCTION meeting with the creative team! During these meetings the overall concept of the show should be discussed.

5) Actors AUDITION! This exciting process takes place in Houston, New York, and Los Angeles. After the initial auditions callbacks are
scheduled to let the director see people audition again. At callbacks, actors usually prepare a song or scene from the show.

6) CAST the show! During this step discussions with actors agents
agree (or sometimes don't agree) on how much the performers will be
paid.

7) Start REHEARSALS! Once everyone is situated in Houston,

rehearsals start for the performance. This is when actors learn their
blocking, songs, and dance. Rehearsals sometimes can last as short
as 2 weeks before a show opens

8) PREPARE all costumes, props, sets, and lights. This takes weeks
of work on the production team's effort so that all the little details are
taken care of.

9) Have a TECH rehearsal! During this step it is important to have

patience because trying to get the lights, sound, and cues perfect is a
very hard job. This usually happens during one of the very last
rehearsals.

10) Go on for a fabulous OPENING night! Your nerves might be high, however, all your work won’t be lost because the cast and crew are
so well prepared!

3 -- Musical Theatre 101 -- Dreamgirls Study Guide-- Theatre Under The Stars
Jobs on a Production Team
A musical is much more than the two and a half hour show the audience sees. The production process often takes many months,
even years, to complete.

Librettist Composer/ Lyricist Producer

No musical would be possible A musical isn't complete without music so a Producers are a rather unknown
without the imagination or inspi- composer and lyricist will do this job. field of theatre occupations. In the
ration of its authors. Over one Composers and lyricists begin to write the past, a show would only have one
third of the musicals on songs that fit the overall tone of the musical, producer who had a tremendous
Broadway come from an existing but also carry the plot along so the audience impact on the creative direction of
book, play, article, or movie. can better understand the show. The com- the show. Many shows started
Other times, authors write musi- poser writes the music, while the lyricist because a single producer had an
cals from an original idea or writes words to go along. Sometimes the idea for a musical and wanted to
concept. The librettist is the same person will do both tasks. There have make it come to life. Now that
book writer- the person that also been a few people who have been suc- musicals have become big business,
writes the script for a musical. cessful as a composer, librettist, and lyricist. however, it is almost impossible for
Just to show the importance of This select group includes George M. a single producer to put up a show.
a strong script, most musicals Cohan, Noel Coward, Meredith Wilson, and Now Broadway shows have a dozen
with a strong score, but bad Jonathan Larson. or so producers making it hard for
libretto will fail, while shows them to exercise creative control.
with an average score and
strong script could succeed.
Director
The director is the person who stages Choreographer
INVESTOR the show to make it come to life for the
audience. In the past directors were A choreographer designs dance
Investors traditionally would give a merely puppets doing what the producer sequences for the performers to fol-
few thousand dollars in return for envisioned, but since the 1950s they low the director's vision. The
tickets and possibly money back have taken basically full control. A direc- dances are intricate movements
from their investment if the show tor has to work with the cast on singing, that allow the performers to
was a hit. This is no longer the acting, and dancing to tell a cohesive express the meaning of each song.
case, however, because of the high story for the audience. The director will Through the choreography, the
price of producing a Broadway help each actor understand their motiva- audience should understand what
show. Now investors contribute hun- tion for the show, block the action, and the characters are feeling. The cho-
dreds of thousands of dollars with oversee how everything comes together. reographer used to be called the
little chance that any of that money The director is the "top dog" in most dance director, but changed when
coming back. What is the point shows that everyone answers to. They ballet choreographers started work-
then? Most investors enjoy being in are in control of the overall artistic vision ing on musicals. This person usual-
"show business" and they usually of the show. ly spends a large amount of time
get great seats to see shows! rehearsing all the dances with the
cast.

Casting
Director Dance Captain
A casting director has the
A dance captain has to be one of the most skilled dancers in the cast who can learn
hard of job of finding the perfect
quickly and help teach. In big productions on Broadway, national tours, or major
person to play each role of a
regional productions most choreographers are not going to be available to be on hand
production. They need to stay
for every performance in case a cast member forgets a step. This is where a dance
up to date on the ever-changing
captain helps. They make sure everyone stays sharp on their dances and are there to
talent and be ready to set up an
teach any forgotten moves.
audition for major and minor
roles at any moment. Casting
directors usually work as free
agents for a variety of produc-
Music Director
ers, but in some cases top pro- The music director is in control of basically all the music in the show. They help the cast
ducers have their very own learn the music, and then they are given the task of helping pace the music. The music
casting directors. director can sometimes conduct the orchestra as well, which comes in handy because
they know the music of the show do well. They usually hire the orchestra members as
well.
4 -- Musical Theatre 101 -- Dreamgirls Study Guide-- Theatre Under The Stars
Designers How would a show look if you couldn’t
Stage Manager
Whatever you see onstage prob- see it? Probably not very good! A light- The stage manager is usually the
ably did not come off a store ing designer’s job is the task of mak- unsung hero of a production. They
rack, so costuming is very impor- ing everything that needs to be shown are in control of making sure all the
tant! A costume designer has to visible to the audience, while also set- elements of a show come together
design how the costumes should ting the tone and mood with the lighting during each and every perform-
look so that they are historically design. A lighting designer also has to ance. They are in control of “calling
correct, and build them in a way be aware of the actors movements so the show” meaning they cue all the
that they can stand the rough they don’t fall out of the light. technical actions of the show. The
day to day wears & washings SM is in full command of the back-
stage area, and once the show
The set designer plays an important opens they receive full control from
role in the audience being able to be the director. The stage manager’s
A sound director has the complex
taken to the place of the action dur- script or “bible” has every single
job of making everything heard! Since
ing the play. They are responsible to cue marked for the whole show, so
most of the characters onstage have a
design how the set should look, and that the action can continue
microphone on, the sound designer
what materials will be used to build onstage trouble-free. The stage
needs to watch how loud that each
it. Sometimes the set designer will manager usually has a team of
mic gets. This job used to not even be
double as the scenic painter, and assistants that can be anywhere
listed in the playbill, but with the rise
paint the set pieces as well! doing whatever is needed.
of technology, it is now a crucial part
of theatre.

Stage Diagram
Stage
Performer Point of View

Upstage Upstage Upstage

Right Center Left
Stage Center
t

Center Stage
gh

St
Right Left
ag
Ri

Down
e
Down
e

Down Stage
Le
ag

Stage Stage
Center
St

ft
Right Left
Le se

Ho ht
Rig
u
ft

use
Ho

Audience Point of View

Why is Musical Theatre Important?

Musical theatre is unlike any other medium of entertainment, which makes it important. Any live theatrical experience not only
involves the actors on stage, it also involves the audience in ways that film and television do not. There is no barrier between the per-
formers and the audience like in film or television. Each performance allows each of us to become our own editors because we can
choose to watch whatever part of the stage we want to. The wonders of movies and television are remarkable, but often provide an
isolated experience. Being part of the communal magic when performer and audience connect at the theater cannot be duplicated.
How the audience reacts to the show deeply affects the actors. Something seemingly trivial like whispering or unwrapping a piece of
candy can distract the actors and alter the mood and tone of their performance.
Musical theatre can help students grow academically, aesthetically and personally. Musical theatre writers, lyricists, and com-
posers have long looked to literature for their inspiration and subject material. As a result, students have the opportunity to engage in
literary analysis of both the story and its inspiration. Elementary students can begin to explore plot and characters, while junior high
and high school students can delve into theme, symbolism, and historical context.
Students will also have the opportunity to discover how music, dance, lighting, backdrops, etc. contribute to the show.
Musical theatre allows young people to explore the elements of production beyond television and film, and gain a greater appreciation
for the arts.

5 -- Musical Theatre 101 -- Dreamgirls Study Guide--- Theatre Under The Stars
 Glossary of Terms
Author - the writer of a musical script also called the book Mezzanine - the middle section of seats in a theater between
Audition - to perform in order to get a role in the production; the orchestra and the gallery; separated into front mezzanine
usually includes singing, dancing, and reading scenes from the and rear mezzanine
show Music Director - one who teaches and rehearses the music with
Ballad - a slow, romantic song for actors to showcase vocal clar- the orchestra
ity Orchestra - the section of seats in a theater immediately
Blocking - the specific movements of actors on stage behind where the orchestra sits
Box - a separate compartment of seats usually elevated on the Principal Performers - the leading actors, those who portray
sides of the theater, for the accommodation of VIP's the major roles
Box Office - a booth inside the theater where tickets are sold Program - a listing of the order of events, names of the cast
“Calling the Show” - the process of calling out the lighting, and crew, and other relevant information for the production
sound, and scene-change cues during a performance usually Property (Props) Master - one who manages all items used on
done by the stage manager stage that cannot be classified as scenery, electrics or wardrobe
Casting - the process through which actors are chosen for roles Read-through - the cast reads through the script without move-
in the production ment or music
Casting Agent - one who chooses actors for roles in the produc- Rehearsal Pianist - one who plays the piano for early-stage
tion rehearsals
Child Wrangler - one who works with child performers Set Designer - one who creates the scenery for the stage
Choreographer - one who designs dance sequences Sikinnis -a dance for the Grecian satyr plays that mocked
Composer - one who writes music tragedy
Conductor - one who directs the orchestra Sitzprobe - the first rehearsal with both the performers and the
Dance Captain - one who teaches and rehearses dance orchestra, with no staging or dancing
sequences with the performers Sound Designer - one who plans and executes the layout of all
Director - one who supervises the creative aspects and guides sound playback and equipment for the show
the artistic vision of the production Sound Operator - one who handles the sound playback and mix-
Dress Rehearsal - rehearsal in which performers practice with ing equipment for the show; works with the sound designer
costumes and props Sound Board - a desk comprising a number of input channels
Dresser - one who assists performers with their costumes during where each sound source is provided with its own control chan-
dress rehearsals and shows nel through which sound signals are routed into two or more
Electrician - one who works with the lighting designer to adjust outputs; changes the quality of the sound
and operate lighting instruments Sound Effects Designer - one who creates or enhances sounds
Emmeleia - a dance for the Grecian tragedies that was slow that are not part of the music or dialogue
and graceful Standby / Understudy - one who studies a role and is prepared
Ensemble / Chorus - a group of singers, dancers, or actors who to substitute the principal performer when needed
perform musical numbers Stage Left - the left side of the stage, when facing the audi-
Flyman - one who pulls the curtain before and after perform- ence (performer's point of view)
ances and operates the flying system, if one is used Stage Manager - one who is responsible for the quality of the
Gallery - the section of seats in a theater farthest away from show's production, assists the director and oversees the show at
the stage; separated into front gallery and rear gallery each performance
Head Carpenter - one who builds the sets for the production Stage Right - the right side of the stage, when facing the audi-
Headshot - a photograph of an actor from the shoulders up and ence (performer's point of view)
lists his or her credits on the back Swings - one who is prepared to substitute for ensemble or cho-
House Left - the left side of the theater, when facing the stage rus members who are unable to perform
(audience's point of view) Tailor - one who alters garments to fit a person's specific meas-
House Manager - one who oversees all aspects of the audience; urements
responsible for ushers and audience safety Technical Rehearsal - rehearsal incorporating the technical ele-
House Right - the right side of the theater, when facing the ments of a show, such as the scene and property shifts, light-
stage (audience's point of view) ing, sound, and special effects
Kordax - a dance for Grecian comedies that was up beat Uptempo Song - a fast, upbeat song for actors to showcase
Lighting Designer - one who decides where the lighting instru- dancing and acting ability
ments should go, how they should be colored, and which ones Usher - one who guides audience members to their seats
should be on at any particular time to affect mood, visibility, Wanderprobe - rehearsal in which the performers practice
and to showcase costumes and sets singing and dancing on stage while the orchestra plays
Lyricist - one who writes the words to a song Wig Master / Mistress - one who obtains and customizes wigs
Makeup Artist - one who applies cosmetics to a performer's for performers to wear
face and body
Marquee - a signboard projecting over the theater's entrance

6 -- Musical Theatre 101 -- Dreamgirls Study Guide-- Theatre Under The Stars
Use the following page about proper theatre etiquette during performances to copy and print out handouts for your students or
cut along the dotted lines to make reminder cards for students to keep with them throughout the show.

G oing t o t he G oing t o t he G oing t o t he

T heatre ! T heatre ! T heatre !
Some basic theatre etiquette Some basic theatre etiquette Some basic theatre etiquette
tips: tips: tips:

1. Do not talk, whisper, sing, or 1. Do not talk, whisper, sing, or 1. Do not talk, whisper, sing, or
hum during the performance. hum during the performance. hum during the performance.
Singing and swaying with the Singing and swaying with the Singing and swaying with the
music or leaning forward in music or leaning forward in music or leaning forward in
your seat blocks the view of your seat blocks the view of your seat blocks the view of
those sitting behind you. those sitting behind you. those sitting behind you.

2. Do not eat and drink during 2. Do not eat and drink during 2. Do not eat and drink during
the performance. It is distract- the performance. It is distract- the performance. It is distract-
ing to both the performers and ing to both the performers and ing to both the performers and
your neighbors. your neighbors. your neighbors.

3. Keep feet on the floor, not 3. Keep feet on the floor, not 3. Keep feet on the floor, not
on the seat or balcony in front on the seat or balcony in front on the seat or balcony in front
of you. of you. of you.

4. Clap after the songs to show 4. Clap after the songs to show 4. Clap after the songs to show
the performers that you are the performers that you are the performers that you are
enjoying the show. Also keep enjoying the show. Also keep enjoying the show. Also keep
in mind that performers appre- in mind that performers appre- in mind that performers appre-
ciate enthusiastic applause, ciate enthusiastic applause, ciate enthusiastic applause,
but not whistling or shouting. but not whistling or shouting. but not whistling or shouting.

5. Appropriate laughter, tears, 5. Appropriate laughter, tears, 5. Appropriate laughter, tears,

and applause are the best ways and applause are the best ways and applause are the best ways
to express your feelings about to express your feelings about to express your feelings about
the performance. the performance. the performance.

6. Stay until the end of the 6. Stay until the end of the 6. Stay until the end of the
show and clap during the cur- show and clap during the cur- show and clap during the cur-
tain call to say "thank you" to tain call to say "thank you" to tain call to say "thank you" to
the performers. the performers. the performers.

7. No electronic devices should 7. No electronic devices should 7. No electronic devices should

be brought into the theatre, be brought into the theatre, be brought into the theatre,
and please silence all cell and please silence all cell and please silence all cell
phones, pagers and watches. phones, pagers and watches. phones, pagers and watches.

7 -- Musical Theatre 101 -- Dreamgirls Study Guide-- Theatre Under The Stars
How About Trivia?

Did you know it used

Do you know Roman actors
to be okay to talk
wore the first tap
in theatres!
shoes?
They would attatch pieces of
metal called scabillas, to the Before the intorduction of elec-
bottoms of their shows so audi- tric lighting, the goal of theatre
ences would be able to hear was to be seen, not necces-
the performers feet! sarily to see. Audience mem-
bers would talk through per-
formances and sometimes
even correct the actors is they
messed up! Now it would be
very rude to disrpt a perform-
Did you know ance by talking, so be warned!
actors used to
Not until Duke of “buy the audi-
Saxe- Menningen ence?
Georg wanted histori-
cal accuracy in plays Actors hired a
did theatre start provid- claque, a
ing costumes. Take a group of people
look back at paid to applaud an
Shakespearean plays actor, to gain fame.
where the actors wore Do you know
Although this isn’t in
doublets and tunics how old lip-
theatre anymore, it is
(clothing of the time) syncing is?
still rumored to exsist In ancient Rome, popu-
during shows set in
in opera. lar actors like Livius
ancient Greece.
Andronicus, would have
someone speak their
Did you know actors were
words while they did the
supposed to supply theor
movements if they were
own costumes for hun-
Do you know what the sick.
dreds of years?
proscenium arch (the
picture frame archway Do you know how
built around the stage) ancient actors got
is named after? into character?

A skene was a building Actors are known

Do you know how in Grecian theatre that for trying to experi-
old the traditions of provided the backdrop ence the character
spotlights in the- which the actors per- they are potraying.
formed in front of. Add The Greek actor
atre have been
the prefix “pro” meaning Polus, while play-
used for? Back in medieval times, before and the term liter- ing the part of
when electricity hadn’t ally means before the Electra, in
been invented, stage hands skene or in front of the Sophocles Electra,
would polish basins to reflect backdrop. carried an urn of
sunlight back in a beam on
his own dead son’s
lead actors. This helped
ashes to represent
focus the audience’s atten-
the late brother his
tion on what the director
character was
wanted the focus to be.
mourning.

8 -- Musical Theatre 101 -- Dreamgirls Study Guide-- Theatre Under The Stars
Review Questions
The following questions are intended to help students learn the basics of musical theatre. These may be used for class discussion
or given as homework and written assignments.

Checking for Understanding

1. What is the definition of musical theatre? 7. How can you be your own editor in theatre?
2. Where is humor from ancient Greece still 8. What does a choreographer do?
found today?
9. Draw a diagram noting upstage, downstage,
3. How did the Roman Catholic Church help the- stage left, and stage right. Can you further
atre? divide it?
4. Who formulated the musical as we know it 10. What are four major theatre etiquette tips?
today?
5. What was the problem facing musical theatre
in the 1920’s?
6. What was the first musical to incorporate
story telling in dance?

Critical Thinking
1. Do you think theatre from another time peri- 5. What do you hope to gain from experiencing
od would interest us today? Why or why not? musical theatre?
Give an example.
6. What theatre element seems the most
2. What about musical theatre seems the most important? Do you think your neighbor would
interesting? Why do you find this appealing? feel the same?
3. Do you think since spectacle is so important 7. How can audiences influence performers
in musicals now it will stay that way forever? since there is a new audience every night?
What technology might have encouraged this?
8. If you were to teach a child how to behave
4. What step do you think is the most impor- at the theater, what would you tell them?
tant in making a musical? The most challenging?
The most fun?

9 -- Musical Theatre 101 -- Dreamgirls Study Guide-- Theatre Under The Stars
Review Activities
The following activities and projects are intended to encourage students to further their understanding of musical theatre, and
may also be used for class assignments or take-home projects.

6th - 12th Grade

I N S P I R A T I O N D E B A T E
OBJECTIVE: To learn how historical context has affected OBJECTIVE: To learn the differences between various
and inspired musical theatre, and develop research and media, develop public speaking and verbal expression
public speaking skills skills, and encourage self-expression
ACTIVITY: Have students choose a musical to research and ACTIVITY: Divide the class into three groups and have each
then create a presentation of how the show reflects the group choose a form of media (ex. television, newspapers,
times in which it was created, including historical figures or theatre). Then have the groups debate on which medium
and relevant social or political issues. Encourage students is the best. Make sure students support their claims with
to watch videos of the show, study song lyrics, and specific benefits and limitations of each medium. Have
research the time period in which the musical was written. opening remarks be done as a skit showing the same story
Suggested Shows: Oklahoma, West Side Story, Bye Bye done in each medium. Students should leave understanding
Birdie, Peter Pan, Annie, The Sound of Music, Ragtime the differences in each storytelling medium.

10 -- Musical Theatre 101 -- Dreamgirls Study Guide-- Theatre Under The Stars
Section
3A b o u t
Show Background
The Show
Dreamgirls opened on December 20, 1981 at the Imperial Theatre on Broadway and ran for an astounding
1522 performances until August 11, 1985. This musical was nominated for 13 Tony awards and won 6. The musical
had a long wait until it received fame. In 1975, Henry Krieger and Tom Eyen became inspired to write a show about
African American back-up singers. The show, originally entitled Project #9, started workshops with Michael Bennett
joining the production team. The second workshop brought Jennifer Holliday to play Effie, but she left the project after
some disapproval with her character and the material. Bennett, himself was uncomfortable with the material at this time
as well, but another workshop was scheduled. Here the title was changed from Big Dreams to Dreamgirls. The fourth
workshop involved sitting around a table constructing the story. Jennifer Holliday joined, left, and re-joined the produc-
tion again. Finally, the show opened at Boston's Shubert Theatre in November 1981. The first show was cancelled due
to failing voices, but then went on to Broadway and national tours.
On December 25, 2006 a film adaptation entitled Dreamgirls opened nationwide receiving rave reviews. It
received 3 Golden Globes including Best Picture (Musical/ Comedy) and 2 Oscars. Minor changes were made includ-
ing the setting of the trio's hometown and the location of the talent show. The estimated budget for the movie was $70
million, according to imdb.com, making it the most expensive film with an all African American cast ever.

The Creative Team

Michael Bennett Henry Krieger
Director & Co-choreographer Music by

Michael Bennett was born on April 8, 1943 in Buffalo, New Henry Krieger was born on Febuary 9,
York. He was a child dance prodigy and even started staging 1945 in New York, New York. He grew up
his own shows in high school. When he was 16 he dropped in New York state and then attended
out of school for his first big break playing Baby John in American University and Columbia
West Side Story. He worked on Broadway as a dancer and University. Upon graduation, Krieger
then started doing choreography. Promises began composing for Off-Off Broadway
was his first big hit as a choreographer, and productions. He teamed up with Michael
he grew to be more and more popular. A Bennett during the workshops to write the
Chorus Line and Dreamgirls are his two big music for Dreamgirls - a very ardous task.
successes earning him many awards. Other shows he has composed for include Radio Music
Bennett was diagnosed as HIV + and City Hall Christmas Spectacular and Tap Dance Kid.
passed away on July 2, 1987, days after Krieger also worked as the musical director for 52nd Street
Dreamgirls re-opened on Broadway. Project, where professionals and kids pair up for a produc-

Tom Eyen
Book by

Tom Eyen was born on August 14, 1941 in Cambridge, Ohio.

He studied at Ohio State University until 1960 when he moved
to New York City to further study acting. He worked as an
actor and then developed his own theatre
called Theatre of the Eye in 1964. He is the
author of over 30 plays and well known for his
Off-Off Broadway experimental theatre work.
Dreamgirls is Eyen’s most popular and main-
stream work. Besides writing plays, Eyen also
worked on the Mary Hartman, Mary Hartman
TV show in the 1970’s. Eyen passed away on
May 26, 1991 in Florida.

11 -- About the Show --Dreamgirls Study Guide-- Theatre Under The Stars
A Brief Show Overview

Character List Song List

The Stepp Sisters, competed at talent show ACT 1
Tiny Joe Dixon, competed at talent show
Scene 1- Apollo Theatre
Little Albert and the Tru Tones, competed at I’m Looking for Something
talent show Goin’ Downtown
The M-C, hosted talent show Takin’ the Long Way Home
Marty, veteran music agent for Jimmy Early Move (You’re Steppin’ on My Heart)
Fake Your Way to the Top
Curtis Taylor Jr., shady businessman who takes
Scene 2- On the Road
an interest in the Dreams & Jimmy Early Cadillac Car
Deena Jones, Dreamette who is young, naive & Scene 3- A Recording Studio
impressionable Cadillac Car
Lorrell Robinson, Dreamette who has her eye on Scene 4- Limbo
Cadillac Car
Jimmy Early
Steppin’ to the Bad Side
Effie Melody White, Dreamette who turns into a Scene 5- A Hotel in St. Louis
diva Party, Party
C.C. White, Effie’s brother & songwriter Scene 6- Miami
James “Thunder” Early, music star I Want You Baby
Scene 7- Dressing Room in the Atlantic Hotel
Dave and the Sweethearts, mainstream band Family
who steals Jimmy Early’s hit song Scene 8- Cleveland
Frank, press agent Dreamgirls
Dwight, T.V. director Press Conference
Only the Beginning
Michelle Morris, Effie’s replacement in The
Scene 9- A TV Studio
Dreams Heavy
Jerry, night club owner who helps Effie get back Scene 10- San Francisco
on her feet Heavy
Carl, piano player Scene 11- Las Vegas (Backstage)
It’s All Over
And I Am Telling You I’m Not Going
Scene 12- Las Vegas (Onstage)
Love Love You Baby

ACT II

Scene 1- Las Vegas Hilton

“Dreams” Medley
Scene 2- Chicago Nightclub
I Am Changing
Scene 3- Vogue Magazine Photo Call
One More Picture Please
When I First Saw You
Scene 4- National Democratic Fundraiser
Got to Be Good Times
Ain’t No Party
I Meant You No Harm
Quintette
The Rap
Scene 5- A Chicago Recording Studio
I Miss You Old Friend
One Night Only
Scene 6- Los Angeles
One Night Only
Scene 7- Chicago
I’m Somebody
Faith in Myself
Scene 8- New York
12 -- About the Show -- Dreamgirls Study Guide-- Theatre Under The Stars Hard to Say Goodbye, My Love
 Show Synopsis
Act I
Act one opens with I'm Looking for Something, Goin' Downtown, and Takin' the Long Way Home performed
by the contestants at the Apollo Theatre's 1967 talent contest. Famous artist, James "Thunder" Early's, back up vocal-
ists have just quit before his tour. A musical trio featuring Effie, Deena, and Lorrell hurry in late for their spot, ready
to win and become famous. They perform, as The Dreams, singing Move (You're Stepping on My Heart) and catch
Jimmy Early's manager, Marty's, eye. Curtis, an aspiring businessman, fixes the competition so that the Dreams don't
win to impress Marty, who then approaches the trio to perform as back up singers on Jimmy's tour. Effie, the lead
singer, outraged at the contest loss refuses his offer, but soon agrees and the girls go on tour with Jimmy (Fake Your
Way to the Top).
On the tour, Jimmy decides he
needs new material to keep his act alive.
Curtis senses this as a time in to move in
on Marty's client and hires Effie's brother
C.C. to write songs. C.C. writes Cadillac
Car for Jimmy, which rises in the charts.
The success is short lived, however. It
falls victim to the music industry's tactics
when a more mainstream pop band covers
the song (Cadillac Car- Reprise). Curtis,
furious that the success he planned
failed, vows to never let it happen again
and illegally pays every DJ to play Jimmy
Early's song Steppin' to the Bad Side,
which rises to number 1 on the charts.
As the group celebrates its suc-
cess singing Party, Party, Curtis reveals his next goal for the group: to become the first African American group to
play at Miami's Atlantic Hotel. (Marty looks upon the proposition skeptically, but just as Curtis starts a relationship with
Effie the Miami contract is signed). Jimmy and the Dreamettes perform I Want You Baby.
The next step in Curtis' master plan involves moving The Dreams from back up to an act of their own. Effie,
instantly elated by the idea of her dream as a lead singer coming true, gets knocked down when Curtis chooses Deena
and her more mainstream appearance to be the lead singer. The group expresses through Family that Deena is the
best thing for the group, and Effie will get her chance- later. Although she believes the best thing for the group is her
talent, a jealous Effie steps out of the limelight for now.
The Dreams play Cleveland, Ohio, solo to much success (Dreamgirls), and Curtis plans to make the group, espe-
cially Deena, a huge star. Effie's concerns get shoved into the background, while Curtis spends most of his time on
Deena fine-tuning her image (Press Conference). Finally Effie can't take it anymore and starts acting up (Heavy and
Heavy- Reprise). Conflict arises when Curtis replaces Effie (It's All Over). In response, Effie reaches out ( And I'm
Telling You I'm Not Going), but Curtis rejects her and The Dreams continue on their rise to stardom (Love Love You
Baby) leaving her behind.

Act II
Five years have passed and Deena and the Dreams are now at the high point of their career ("Dreams" Medley).
In Chicago, Effie starts all over again with Marty. Frustrated with her difficult behavior, Marty helps her swallow her
pride (I Am Changing).
As Effie's life improves, The Dreams face more challenges (One More Picture Please). Deena, who has married
Curtis, longs to be in movies, but Curtis will not allow it (When I First Saw You). Tensions also develop between C.C.
and Curtis over one of C.C's songs. Things come to a head at a performance (Got To Be Good Times) between Lorraine
and Jimmy who have been dating for seven years and Lorraine (Ain't No Party) finally leaves him for good even with
him begging (I Meant You No Harm). Jimmy and The Dreams perform the Quintette, then Jimmy misbehaves at a con-
cert and performs The Rap to which he is instantly fired.
C.C. and Effie meet up for the first time in years (I Miss You Old Friend), when he gives her the song One
Night Only. This proves to be Effie's big break and the record rises on the charts. Curtis, furious at them, releases a
disco version of The Dreams covering the song, sinking Effie's career (One Night Only- Reprise). Marty uncovers Curtis'
illegal business practices and brings a lawyer to settle the affair. The Dreamettes reunite for a farewell concert
(I'm Somebody) and with Faith in Myself Effie joins them for the last number Hard to Say Goodbye, My
Love.

13 -- About the Show -- Dreamgirls Study Guide-- Theatre Under The Stars
Section
4Middle & High School Curriculum
The following questions are intended to encourage students to go beyond the surface of the play by engaging in literary analysis
and outside research. These may be used to prompt class discussions or be given as written assignments.

Digging A Little Deeper

Plot: refers to the arrangement of the events in a story Resolution: the end of a story in which all conflicts are
that each follow plausibly from one to the next to create resolved, creating normality for the characters or
a logical order release of tension and anxiety for the audience
Exposition: devices by which critical elements of the Subplot: refers to a series of connected actions within a

Terminology
plot, often involving back-story, are not directly depict- story that functions separately from the main plot and

Literary
ed, but instead are presented through dialogue (or lyrics) may connect to it either in time and place or thematic
by either characters or a narrator; information is often significance. Often involves the supporting characters in
crucial for the audience to understand the story's action a story
Rising Action: refers to the period after the exposition Protagonist: the character that is the central figure of a
and after a conflict has been introduce to a story's plot; story and his or her attitudes and actions are made
Climax: a point of a story's highest tension or drama clearest to the audience. Also characterized by an abili-
Falling Action: a series of events in a story that follow ty to change or evolve
the climax which serve as a conclusion of the story Antagonist: the character, group of characters, or entity
that represents the opposition against which the protag-
onist or other characters must contend with

Discovering The Plot

1. Describe the main plot of the story in a brief paragraph. 4. Who would you call the protagonist? Could there be two or
Next, identify a subplot, and summarize it and its relation- more? Does it change or evolve by the story's end? If so,
ship to the main plot. explain why you feel this way.

2. Using the synopsis (pg. 13), categorize the important 5. Who is the antagonist in the story? Is there more than one?
moments of the story into rising action, the climax, falling Can you find a specific person or is it a group? Outline who is
action, and the resolution. Briefly explain why you chose the antagonist at each point of the story. Does it change?
each moment in one or two sentences.
6. What do you feel is the climax? Defend what you think
3. Become familiar with the meaning of exposition. In with a short paragraph. Now discuss with your neighbor which
Dreamgirls, what information was given that helped you moment they thought was the climax. Explain why or why not
understand the action of the story? In what ways did the show you were different.
communicate this information? Was there any information you
inferred (assumed) from the exposition? What were you still
unclear about after the exposition?

Discovering The Historical Context

1. Dreamgirls is set in America during the 1960s and 1970s, a 3. This story describes the struggle African Americans faced
very interesting time of change in the ideals of Americans to get their music to a bigger audience. Describe other simi-
concerning race. In what ways does the production provide lar struggles that African Americans or any minority group
background about this setting through dialogue, action, went through to have their voice heard in other arenas. How
props, and sets? Describe historical events that happened are they similar and different?
during the time period considering race. Do you feel that
they are reflected here? What is this musical saying about 4. What do you feel the musical is saying about the race
race? relations during this time period? Why do you feel the cast is
predominantly African American? What point were the
2. This musical addreses many issues of betrayal, discrimina- authors trying to get across only using one racial group?
tion, friendships, and conniving business practices. Do these
transcend the historical context or are they not relevant
today? Explain why or why not? Give an example.

14 -- Middle & High School Curriculum -- Dreamgirls Study Guide-- Theatre Under The Stars
Digging A Little Deeper (cont.)
Discovering The Theme
1. Identify and describe the major themes in Dreamgirls. Do 4. Issues of pride arise throughout the story as cataylsts for
you feel the themes are easily discernable. If you believe conflict. Describe how both Jimmy and Effie’s pride get in
they are more difficult to find, how so? their way? Explain the difference between pride and self-
respect in this show.
2. Explain how Dreamgirls uses the idea of betrayal and trust
as a driving plot motivator. How do these two ideas clash with 5. The end of the musical leaves much unsaid. What literary
each other in thematic functions? What do you feel this juxta- value lies behind this open ending? Write what you feel this
position shows the audiene? leaves the audience with at the end of the performance.

3. How does Dreamgirls portray handling conflict, specifically

dealing with people close to you? Where do these conflicts
ultimately lead the characters in the story? Are they able to
resolve their conflict?

Discovering The Symbolism

1. Do you feel the members of the band The Dreamettes are 4. Race relations are symbolized through the song, Cadillac
used to symbolize particular stereotypes? Describe what each Car, How does the progression from an African American hit to
character symbolizes? Do you feel any character characterizes a more mainstream song change the tone of the song? What
what a strong woman embodies? Describe why or why not. are the authors trying to say with this point?

2. How are the men portrayed in this musical? Do they fall 5. Read over the lyrics to Family on page 19. Why do you feel
under any stereotypes? Which character embodies the nicest they are using the symbolism of a family to appease Effie?
person? What do you think the authors were trying to get What emotions does this draw out? Do you feel this is right?
across with these depictions?

3. The title, Dreamgirls, raises questions about how the three

women are used to embody what men find as attractive. What
attributes does this entail? What does this symbolize as posi-
tive female to male relationships to the audience? Do you
agree?

15 -- Middle & High School Curriculum -- Dreamgirls Study Guide-- Theatre Under The Stars
Get Creative!
The following project ideas are intended to enhance students' musical theatre experience through the analysis and creation of art.
They may be assigned as in-class written assignments, take-home projects, or presentations.

T W O T H U M B S U P ! T E S T Y O U R K N O W L E D G E
OBJECTIVE: To develop an understanding of the elements OBJECTIVE: To engage in literary analysis, develop research
in a theatre production techniques, and develop presentation skills

ACTIVITY: Read the reviews that came out about ACTIVITY: There is a lot of controversy surrounding
Dreamgirls when it appeared as a revival on Broadway Dreamgirls about whether it is based on the group The
(pg. 19-20). Now write your own review of the production Supremes or not. Research the tumultous relationship of
examining the technical and creative side of the perform- The Supremes and decide whether you feel it is based on
ance. Do you share any of the same ideas of the original them or not. Take into account both acts when doing this.
critic? If you do, what does this say about the actual script Divide the class into two groups- one supporting the similar-
of the show? If you don’t, what does that mean regarding ities as inspiration and one defending that the similarities
the script of the show? In a short paragraph describe how are mere coincidence. Hold a debate over the argument.
you can disagree with other reviewers after seeing the Each side should come up with opening remarks, evidence,
same performance. How is this difference even further and closing remarks. After the debate, discuss persuasion
heightened when there is a 20 year gap in the perform- skills in writing, and have each student write a paper
ances? defending their point of view.

Y O U A R E T H E P L A Y W R I G H T Y O U A R E T H E A C T O R
OBJECTIVE: To develop creative writing skills, stimulate OBJECTIVE: To develop an understanding of plot, develop
imagination, and develop presentation skills creative writing skills, stimulate imagination, encourage
teamwork, and develop presentation skills
ACTIVITY: In most musicals there is a sense of closure at
the end of the performance. In Dreamgirls, much is left up ACTIVITY: Before starting each role, an actor needs to
to the audience to decide. Write a script about what would throughly examine and understand their character.
happen next to the characters- like an alternate ending to Sometimes an actor will write a character study describ-
the show. Conclude it in a way that the audience is not left ing all their characters traits and backstory. Write a
without knowledge of what will happen next to the charac- character study on your favorite character. Focus on cre-
ters. After finishing this, in a short paragraph, describe the ating a backstory (what happened in their life before
advantages of leaving the play without a definite ending. what you see on stage) that formed their attitudes and
Which ending would you choose to perform if you could beliefs seen in the play. A good way to start would be
produce the play? Defend your answer. talking about the family they were raised in, if they did
well in school, and a list of their favorites. After doing
this, in a short paragraph, describe why you think this
would be an important tool for an actor to have before
rehearsing.

16 -- Middle & High School Curriculum -- Dreamgirls Study Guide-- Theatre Under The Stars
 Mini Quiz

1. What was the show first called? 7. Who is Effie’s brother?

a. The Dirtiest Show in Town a. Curtis Taylor Jr.
b. Big Dreams b. Tiny Joe Nixon
c. Dreamgirls c. C.C. White
d. Project #9 d. Jimmy Early
e. Mary Hartman, Mary Hartman e. None of the above

2. How many workshops did the play have before 8. Who replaces Effie as the lead singer?
it opened? a. Deena
a. None b. Lorrell
b. 1 c. Michelle
c. 2 d. One of the Stepp Sisters
d. 3 e. No one
e. 4
9. What song of Jimmy’s is stolen by a more main-
3. Who was the actress that kept quitting the stream band?
workshops? a. I Am Changing
a. Jennifer Hudson b. Steppin’ to the Bad Side
b. Gale Edwards c. Party, Party
c. Jennifer Holliday d. Cadillac Car
d. Sheryl Lee Ralph e. When I First Saw You
e. Ramona Brooks
10. What song does C.C. give Effie to re-start her
4. How many Tonys did Dreamgirls win? career?
a. 13 a. Faith in Myself
b. 6 b. One Night Only
c. 7 c. Dreamgirls
d. 4 d. Hard to Say Goodbye, My Love
e. none e. I Want You Baby

5. Who was the director and co-choreographer?

a. Michael Bennett
b. Henry Krieger
c. James Early
d. Tom Eyen
e. Jennifer Holliday

6. What song do the Dreamettes sing at the talent

competition?
a. Move (You’re Steppin on My Heart)
b. Goin’ Downtown
c. Cadillac Car
d. It’s All Over
e. None of the above

17 -- Middle & High School Curriculum -- Dreamgirls Study Guide-- Theatre Under The Stars
Mini Quiz Answers

1. D
2. E
3. C
4. B
5. A
6. A
7. C
8. A
9. D
10. B

18 -- Middle & High School Curriculum -- Dreamgirls Study Guide-- Theatre Under The Stars
 Section Six: Supplemental Materials
More Material
First Review Family
The Dream is Back – And Better
by Howard Kissel What about what I need? you’re not going anywhere,
New York Daily News (June 29, 1987) Curtis says its the best thing for you’re staying and taking your
the group. share, and if
What about what’s best for me? you get afraid again, I'll be
Believe it or not, the scaled-down Dreamgirls that has arrived on He feels the Dreams can there.
Broadway is a much more satisfying and entertaining show than crossover.
What about how I feel? We are a family like a giant tree
the original. But when we're famous I'll write branching out towards the sky,
great things for ya, Effie do it we are a family
The 1981 production of this saga about a group like the Supremes for me. we are so much more than just
was the last word in contemporary stagecraft, infinitely subtler in What about me? What about you and I
its use of technology than, say, Starlight Express. But its overall me? we are a family like a giant
tone was icy and overbearing. tree,
It's more than you, it is more growing stronger, growing wiser,
It is courageous of Michael Bennett to bring back a visually less than me we are growing free..we need
No matter what we are, we are you..we are a family...
imposing production. The emphasis now is on story and character, a family
not technical brilliance. Considering the state of Broadway now, This dream is for all of us, this
his gesture seems unusually important and healthy. one can be real,
and you can’t stop us now
The new cast has some great performers, particularly Herbert L. because of how you feel.
Rawlings, a sensational singer and dancer, as a wildman of rock.
Lillias White has the tough job of filling Jennifer Holliday's shoes. It's more than you,
In retrospect, the emotional weight Holliday brought to the show It is more than me
Whatever dreams we have,
was too much for its slight score. White is an impressive singing they’re for the family,
actress, but, more valuably, an ensemble performer. we're not alone anymore
now there are others there,
Much about the show itself still seems weak and obvious, but the and that dream’s big enough for
energy of the powerful cast is so infectious you can't help being all of us to share,
carried away by it. Plus, it now has warmth, which has been in so don’t think you’re going,
short supply on Broadway in recent years. Warmth is what sets
Bennett above his Broadway peers, and it's heartening to see he
has given Dreamgirls his true signature.

General Websites

Internet Broadway Database

Dreamgirls Websites www.ibdb.com

Playbill
Dreamgirls- Your Vitrual Coffee Table Book of the Musical
www.playbill.com
http://www.graiai.com/dreamgirls
Houston Theatre
The Broadway Musical Home www.theatreport.com
http://www.broadwaymusicalhome.com/shows/dream-
girls.htm Musicals
www.musicals.net
Dreamgirls- The Movie
http://www.dreamgirlsmovie.com Musical 101
www.musicasl101.com

19 -- Supplemental Materials --Dreamgirls Study Guide-- Theatre Under The Stars

Section Six: Supplemental Materials
More Material
Second Review
Hauntings
by John Simon
New York (July 13, 1987)
"...Without the dizzying visual riches that distracted the gaze and mind, the characters thrash about like cardboard puppets..."
When a beautiful woman removes her makeup, she is likely to be just as beautiful. When a homely one removes her
makeup, the result is likely to be -- well, like the current revival of Dreamgirls. Purporting to be a replica of Michael Bennett's
spectacular original production, this is, in fact, the bus-and-truck version of the show with most of its stunning technology gone or
drastically reduced. We are now largely dependent on Tom Eyen's book and lyrics and on Henry Krieger's music, which struck
me as small potatoes all along.
The show concerns the way Harlem's rhythm and blues was co-opted and toned down into the downtown-disco sound.
Inspired (if that's the word) by the stories of Diana Ross and the Supremes, Berry Gordy, James Brown, and some others,
Dreamgirls tells about a singing group, the Dreamettes, competing on talent night at the old Apollo. They are spotted by Curtis
Taylor Jr., an unscrupulous Cadillac salesman, who becomes their agent. He rigs things so that they will lose, turns them into a
backup group for the soul singer James Thunder Early, and starts an affair with Effie, the vocally strongest but visually weak (or
fattest) of the three, while also exploiting the songwriting skills of C.C., her brother. Lorrell, another Dreamette, gets involved with
James, who, through Curtis's nationwide bribing of disc jockeys, climbs the charts with the girls right behind him.
Now Curtis dumps James, whose soul singing is going out of fashion, and starts clandestinely carrying on with Deena,
the prettiest of the trio. When Effie finds out and becomes obstreperous (not merely in her singing), Curtis fires her and makes
C.C. drop her, too. She is replaced by the comely Michelle. Curtis changes the group's name to the Dreams, and, with a tamer,
more homogenized sound and more of his skullduggery, they climb to the top of the charts-thus also betraying C.C.'s art, such
as it is. That is about as much plot as you need to know to grasp that we have here a giant gossip column blind item about the
selling, in both senses, of soul.
Yet schematic and sensationalist as Even's book is, it is still superior to his lyrics: mostly unrhymed, prosaic banalities
that state, restate, and re-restate the obvious. But the score – here comes the kicker – switches between what the characters
perform professionally and what they are thinking and saying in private, with relatively sparse dialogue and much recitative. The
trouble with this recitativo – shall we call it demisecco? – is its musical desiccation, and though it flows seamlessly and cinemati-
cally into the set pieces, these, too, suffer from dearth of invention and variety. It may be objected that Motown and other models
for the Dreamgirls score sound no different, which may, worse luck, be true, but is no excuse.
There was, originally, the brilliantly multifarious and breakneck staging by Michael Bennett, who was too ill to attend to
such matters. But part of Bennett's strength was always his choice of collaborators, and two of those -- Bob Avian, as production
supervisor, and Michael Peters, the co-choreographer -- are back on the job. They do the best they can, and Theoni V.
Alldredge's lush costumes are still on target; other members of the original team, however, have had to shortchange themselves
and us. The five celebrated towers studded with swiveling colored spotlights have shrunk in number and size, and are now
handpushed instead of moving by disembodied electronic magic. A typical loss occurs in "Steppin' to the Bad Side," where, on
bridges ascending beyond the proscenium, rows of dancers acted out, in dramatic backlighting, a huge payola number. Reduced
to mere stage level and a handful of dancers, the payola piece doesn't pay off. Several other lavishly designed, staged, and
lighted numbers similarly bite the dust of economy required by a truckable production geared to smaller stages and more modest
equipment. Tharon Musser's lighting seems less opulent now (Musser's original lighting plot was more intricate than Eyen's plot),
and, though still impressive, is far less dazzling.
It has been argued that what the show loses in razzmatazz it gains in warm humanity. But for warm humanity we need
fully realized human characters, however fallible and selfish. Deprived of the dizzying visual riches that distracted the gaze and
mind from the impoverished clichés of the words and music, the characters now thrash about like those two-dimensional card-
board cutout puppets that lack even the thickness of marionettes. And many of the cast cannot help, either.
As Curtis, Weyman Thompson has little voice and less personality. Mostly he stands there, his face and body curiously
concave, a flattened-out version of the debonair and demonic. The other men are weak, too, with the luminous exception of
Herbert L. Rawlings Jr., whose James Thunder Early sings, dances, and acts with heart and soul and body, and humor and
pathos to spare. For the rest, the women do better, Lillias White, in the key role of Effie, is less tubby than the original's Jennifer
Holliday, whose standby she was, and commendably sings rather than caterwauls the showstopper "And I Am Telling You I'm
Not Going" (that prosy title line alone, much repeated, should give you an idea of the lyrics), which I found a major relief. As
Deena, Alisa Gyse is attractive, though perhaps not quite spirited enough, which is made up for by Arnetia Walker's Lorrell, who
is at times rather too much so. Susan Beaubian is adequate in the routine part of Michelle.
But how the show drags on, especially in the second act, deprived now of the glitter of hotels and nightclubs, the
recording-studio and backstage frippery and clutter. Robert Graves once suggested that David Copperfield could be greatly
shortened and vastly improved just by omitting the word "little" in its manifold appearances. By cutting three words -- "baby,"
"dream," and "me" – from Dreamgirls at least sometimes, the running time could shed a mauvais quart d'heure, and we'd all be
better off for it.

20 -- Supplemental Materials --Dreamgirls Study Guide-- Theatre Under The Stars