Five Reasons To See Dreamgirls

The wait is finally over as Broadway smash Dreamgirls brings its glitz and glamour to London’s West End 35 years after this story of a 60s girl group first wowed New York audiences.  Here are five reasons why you need to get your ticket today.


  1. Amber Riley

Glee fans will already be familiar with Amber’s knockout voice and those who never heard her as sweet-natured Mercedes Jones are in for a spine-tingling treat. Amber plays Effie White in the show, the lead singer in The Dreamettes alongside her best friends Deena Jones and Lorrell Robinson, who soon discover that the path to fame is as strewn with heartbreak as it is dreams. For a sneaky listen to Amber’s power to set hearts racing and tears flowing, check out this preview of her singing ‘I Am Changing’.

2. The Songs

From heart-wrenching big ballads to Motown-style stompers, the Dreamgirls musical numbers will have you dancing in the aisles, sobbing into your popcorn – and humming them for days. Audience favourites includes ‘I Am Changing’, ‘And I Am Telling You I’m Not Going’ and ‘Listen’ – originally made famous by Beyoncé in the 2009 film and now a part of the stage production.

 3. The Costumes

The spangly frocks, the wigs, the sparkly shoes – Dreamgirls is almost as famous for its fabulous costumes as it is for its killer tunes. And the costume changes are as frequent as a Diana Ross tantrum – the 2009 US touring production of Dreamgirls had over 460 costumes and 205 wigs. The London production’s wardrobe has been designed by renowned, Tony Award winning costume designer Gregg Barnes.

4. The Story

It’s not all singing and dancing, Dreamgirls is an engrossing and emotional story. The plot follows the fortunes – and failures – of Chicago-based trio The Dreamettes – Deena Jones, Lorrell Robinson and Effie White after they are discovered by ambitious agent Curtis Taylor, Jr. The girls’ career takes off under Taylor, but at a cost as it’s not long before he’s controlling their every move. Under the stress of success, cracks begin to show in the group as the beautiful Deena emerges as the star of the group over the gifted Effie. 

5. Be Part Of History

Dreamgirls first hit Broadway in 1981 directed and choreographed by Michael Bennett. The show won six Tony Awards and has toured the United States and the world. The show finally arrives in London in a highly anticipated new production directed and choreographed by the hugely successful, Tony and Olivier award-winning Casey Nicholaw (The Book of Mormon, Aladdin, Something Rotten!). One of the reasons why the show took so long to arrive in the West End was because producers couldn’t find the perfect Effie – until they discovered Amber. And who wouldn’t want to miss out on perfection?

Dreamgirls | Savoy Theatre | Booking from 23 November 2016 | Click Here For Tickets

Theatre Review: The Nether, Duke of York’s and How To Hold Your Breath, Royal Court

Maxine Peake (Dana) and Michael Shaeffer (Jarron) in How to Hold Your Breath at the Royal Court Theatre. Pictures Manuel Harlan.

Maxine Peake (Dana) and Michael Shaeffer (Jarron) in How to Hold Your Breath at the Royal Court Theatre. Picture: Manuel Harlan.

The future never looks good in the arts. You rarely read a book, see a play, watch a TV programme about the world 30 years from now and see people contentedly and comfortably living in a world overflowing with food, water and oil.

By coincidence, I spent the first week of February watching two playwrights’ visions of the miserable future that awaits us. First up was Zinnie Harris‘ new play at the Royal Court, How To Hold Your Breath followed by The Nether, a play that started life at the Sloane Square theatre before transferring to the Duke of York’s last month.

How To Hold Your Breath is the cautionary tale of how a one night stand can lead to the economic collapse of the European Union. Dana, played by the captivating Maxime Peake, meets a handsome man in a bar only for her blissful post-coital bubble to burst as he tells her he’s a Demon called Jarron (played with sinister charm by Michael Shaeffer) and he absolutely insists on paying her €45 for her services. Oof. Rightly pissed off, Dana tells the Demon to shove his money up his eurozone, a decision that proves rather unwise as the Demon’s wrath brings down the Western world as we know it.

As catastrophe reigns, Dana and her pregnant sister Jasmine (Christine Bottomley) attempt to find their way from Berlin (where the play is set) to Alexandria where Dana has been invited for an interview for a research post. Their journey continues in the same slightly surreal tone, a kind of apocalyptic Alice in Wonderland where a librarian keeps popping up with ‘how to… ’books for all eventualities  like Carroll’s White Rabbit with a library card.

There’s an awful lot going on in Harris’ issue heavy play and as a result it feels unrelentingly bleak with seemingly little purpose. Luckily we have Maxine Peake in the lead, an actor capable of conveying a 100 emotions with a flick of an eye. The performances are the cornerstone of Vicky Featherstone’s production, elevating it  above its muddleness. Peake is well supported by a talented cast all of them digging deep and extracting some emotion from the play’s curious coldness.

The Nether is a more coercive play despite tackling some very big issues. Set in 2050, the Nether is an virtual world where people create other identities and fantasy lives, although the moral codes of the real world remain, in theory.

Within the Nether, a man named Sims (an imposing Stanley Townsend) has created the Hideaway, a faux Victorian house of which he, as Papa, is head. There is nothing upstanding about this chocolate box world Sims has created, its purpose is to allow people to use the children of the house as they please. But, as this is the virtual world, these children aren’t who they appear, they too are adults, opting for these roles and seemingly complicit in their abuse.Isabella Pappas as Sims’ favourite Iris, gives a wonderful performance and the part being played by a child adds to the moral murkiness.

The Nether, Duke of York's

David Calder and Stanley Townsend in The Nether, Duke of York’s

Jennifer Haley’s clever script is ambiguous in its moral message and like the detective (played with stern intensity by Amanda Hale) in charge of the investigation, we’re never sure if what goes on in The Hideaway is a crime if all involved are, in the real world, consenting adults.

As much as this is a futuristic moral maze, The Nether is first and foremost a detective play with plenty of surprises in the taut script that twists and turns with dexterity, building the intensity. Director, Headlong’s Jeremy Herrin stretches the suspense tight for a gripping 1 hour 20 minute play that will leave you buzzing with questions.

The Nether doesn’t however look much like your average detective story; it’s super sleek and Es Devlin’s set design and Luke Halls’ video design are fabulous, mixing technological polish with imaginative aesthetics much like Haley’s play itself.

by Suzanne Elliott

The Nether, Duke of York’s until April 25th 2015

How To Hold Your Breath, Royal Court until March 21st 2015

Theatre Review: The Weir, Wyndham’s Theatre

The Weir, Wyndham's Theatre

The Weir, Wyndham’s Theatre

The Weir is one of those plays that’s about nothing and everything. It’s a gentle, funny play for the most part, with a plot that revolves around five people getting pissed in a down-at-heel pub in an unnamed, remote part of Ireland, livening their whiskey soaked evening with ghost stories.

But Irish playwright Conor McPherson’s script delves into the human heart and extracts a play that’s moving, funny and tender. Billed as a ghost story, The Weir isn’t a spine tingling scarathon in the vein of Woman in Black; The Weir’s ghosts are far more human.

It’s a wet, blustery night (both, as it happens, inside and outside the theatre) and local bachelors Jack (Brian Cox) and Jim (Ardal O’Hanlon) have taken refuge in their local with barman Brendan in his shabby – in a decidedly un-chic way – pub. They are joined by married regular, the flashy in a small town way Finbar (Risteárd Cooper)  and Veronica (Dervla Kirwan)  a young woman who’s recently moved from Dublin to this part of the world searching for a bit of peace.

She doesn’t get much on this particular night as the four men, in a bid to impress the attractive blow-in, start narrating their personal ghost stories with verbocious Jack as the eloquent ringleader.  But amongst these stories of ghouls and spirits, the most haunting tale of them all is all too real.

The Weir is engaging and funny and filled with sadness and regrets that overflow like Valerie’s pint of wine. The cast are all fantastic; Brian Cox’s Jack shifts effortlessly from Guinness-fuelled show-off to reveal a man scarred by heartbreak and regret. Dervla Kirwan is quietly and then devastatingly brilliant as the lone woman with a past so shatteringly sad that the men – and the audience, or this audience member at least – are stopped in their tracks.

The Weir may not spook you, but it will haunt you in other – more affecting – ways.

by Suzanne Elliott