'Dreamgirls' revival hits many right notes

Certainly, it goes a long way toward restoring the reputation of director-choreographer Robert Longbottom, who was recently raked over the coals for his disastrous Broadway staging of “Bye Bye Birdie.”

Longbottom obviously has looked to Bennett for inspiration for his cinematic-style staging, which uses a plethora of massive LED panels to create many memorable stage images. But while the technology is effective, it sometimes produces a disconcerting distancing effect.

The show, essentially a roman a clef about the rise and fall of the Supremes, still holds up beautifully as a vibrant portrayal of the transmutation of '60s R&B into pop and the artistic compromises that black performers of the era had to make in order to achieve crossover success.

Although clearly designed for the road, the show doesn't skimp on production values, with William Ivey Long's eye-popping costumes (and there are plenty of them), Ken Billington's lighting design and Paul Huntley's wigs proving outstanding elements.

In the pivotal role of Effie — the plus-size Dreamette who is so rudely shoved aside in order to make the more eye-pleasing Deena Jones the star — newcomer Moya Angela proves a worthy successor to such predecessors as Jennifer Holliday and the Oscar-winning Jennifer Hudson. The big-voiced performer more than fulfills the demands of the part with her rendition of the show-stopping “And I Am Telling You I'm Not Going,” even if the impact of the number is necessarily lessened by familiarity.

The true standout, however, is Chester Gregory, who delivers a dynamic performance as the James Brown-like James “Thunder” Early. Gregory, best known for his turn as Seaweed in the Broadway production of “Hairspray,” seems to have springs in his legs, and his electrifying dancing here produces one gasp after another.

The rest of the parts are handled capably, with “American Idol” runner-up Syesha Mercado a suitably beautiful Deena and Adrienne Warren even better as the unheralded Lorrell. Margaret Hoffman also makes a strong impression in her few scenes as the interloping Dreamette.

Chaz Lamar Shepherd is suitably intense as the scheming manager Curtis Taylor Jr., and Trevon Davis is highly appealing as the frustrated songwriter C.C. White.

Although Longbottom's staging and choreography pale next to the original, he's done a fine job with several numbers, especially “Steppin' to the Dark Side,” which employs those LED screens with imaginative flair. And the nifty quick costume changes produce the desired dazzling effect.

The score by Henry Krieger (music) and Tom Eyen (lyrics) remains an effective pastiche of '60s styles. It has here been augmented with two additions: “What Love Can Do,” the second-act opener, and the Effie/Deena duet “Listen,” written for the film, which serves as a strong eleven o'clock number.

The production also gains immeasurable resonance from its being presented at this intimate and historic venue, where the opening and (for this version) closing numbers are actually set.

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