Dreamgirls

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Dreamgirls: A Soulful Triumph on the West End

"Dreamgirls" stormed London’s West End, opening at the Savoy Theatre on November 19, 2016, with its official premiere on December 14, following previews from November 14. Directed and choreographed by Casey Nicholaw, this Tony-winning musical ran until January 12, 2019, delivering over 750 performances across two seasons. Inspired by the rise of 1960s R&B acts like The Supremes, it follows The Dreams Effie White, Deena Jones, and Lorrell Robinson as they evolve from Chicago hopefuls to global stars, navigating fame’s highs and lows. With a knockout score by Henry Krieger and Tom Eyen, featuring classics like "And I Am Telling You I’m Not Going," the show, produced by Sonia Friedman Productions, dazzled audiences and critics alike, cementing its status as a modern West End classic.

Origins and Path to London

"Dreamgirls" began on Broadway at the Imperial Theatre in 1981, running 1,521 performances and snagging six Tony Awards, including Best Book. Conceived by Tom Eyen, with music by Krieger, its story drew loose parallels to The Supremes’ journey, though Eyen denied direct influence, citing The Shirelles as his muse. A 2006 film starring Beyoncé and Jennifer Hudson, who won an Oscar as Effie, reignited its fame, paving the way for its West End debut 35 years later. Nicholaw, fresh off "The Book of Mormon," helmed the UK premiere, with Amber Riley cast as Effie after a standout audition left Friedman in tears. The Savoy’s grand stage became the perfect backdrop for this long-awaited British bow.

The West End Run

The Savoy Theatre production launched with Riley as Effie, Liisi LaFontaine as Deena, and Ibinabo Jack as Lorrell, joined by Joe Aaron Reid as Curtis Taylor Jr. and Adam J. Bernard as Jimmy Early. Riley’s Olivier-winning turn electrified the role until her pneumonia-related exit in January 2017, when Marisha Wallace and Moya Angela stepped in, with Wallace later alternating with Karen Mav and Brennyn Lark. Tyrone Huntley’s C.C. White earned an Olivier too, bowing out in June 2017 for "Jesus Christ Superstar." Despite illness-related hiccups like a December 2016 understudy-heavy show the production soared, extending bookings repeatedly before closing in 2019, followed by a UK tour announcement for 2020. Tim Hatley’s sets and Gregg Barnes’ costumes dazzled, framing a tale of ambition and betrayal.

Musical and Theatrical Highlights

Krieger’s score, with Eyen’s lyrics, blends Motown swagger and emotional heft in songs like "I Am Changing," "One Night Only," and "Listen," the latter revised from the film for Riley and LaFontaine’s 11 o’clock duet. "And I Am Telling You I’m Not Going" remained the showstopper, Riley’s rendition sparking mid-act ovations that echoed beyond the Savoy’s basement auditorium. Nicholaw’s choreography sharp, relentless paired with Hugh Vanstone’s lighting turned numbers like "Steppin’ to the Bad Side" into visual feasts. The 2016 cast recording captures the original trio’s vocal fire, while the Act II opener, a "Love Love You Baby" reprise with new Willie Reale lyrics, added fresh sparkle to the West End version.

Challenges and Resilience

"Dreamgirls" faced hurdles: its 2016 opening coincided with a cast illness wave, forcing reliance on understudies, and Riley’s pneumonia bout tested its depth. Producers weathered these storms, bolstered by a tight band under Nick Finlow and a versatile ensemble including Jocasta Almgill and Tosh Wanogho-Maud. The show’s late West End arrival 35 years after Broadway raised stakes, yet Nicholaw’s staging proved its timeless pull, earning five-star reviews from The Guardian and Variety. Its closure in 2019, announced June 2018, came amid shifting theater schedules, but not before it played to packed houses, leaving a void filled later by a UK tour launched in September 2020 at Northampton’s Royal & Derngate.

Legacy and Cultural Resonance

"Dreamgirls" left an indelible mark on the West End, winning 2017 Oliviers for Riley (Best Actress) and Bernard (Best Supporting Actor), and drawing over a million attendees. Its tale of Black women breaking barriers in a male-dominated industry mirrored the 1960s cultural shift, resonating with modern movements like #MeToo and #BlackLivesMatter. The Savoy run showcased a rare Black-led cast, amplifying its significance. While it never returned to Broadway post-1987, its London triumph spurred global interest, with productions in Japan and beyond. As of March 2025, its legacy thrives through tours, recordings, and a lingering echo of Effie’s defiant cry a soulful testament to dreams deferred and reclaimed.