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Even the camp classic "Valley Of The Dolls" gets it right about the often cruel aspects of show business. Two classics of the Broadway musical stage dealt with them, head on--"Gypsy," in 1959, and "Dreamgirls," in 1981, twenty two years later.
Much has been said about "Gypsy," since it seems like it never stops getting revived. Who will we get next???? Lady Gaga? Or, hopefully, after some time, Martha Plimpton??????
When I read "Playbill's" recent article of musicals people think should be revived, I was overwhelmed, not only by how many said "Mame" or "Hello, Dolly!," but no one said anything about, say, "RAGS" or "Dreamgirls." And that got me thinking. The aforementioned Jerry Herman shows are war horse classics, and 'Dolly' has been revived a couple of times. "Mame" is a trickier proposition, because that original cast is just too good to surpass. And there has never been a child to match Frankie Michaels, before or since; I doubt if there ever will be. "Mame" is certainly a favorite of mine, but, having seen a revival that closely approximated the original, back in 1983, with some of the originals playing their roles, I don't know if such a stellar cast could be assembled today. The people who scream for a revival of this show are those who have never seen it. To them, I say--be careful what you wish for, because you might be disappointed. Better to do what I do--listen to the glorious 1966 cast recording, stage the thing in your mind, and live out your musical theater fantasy that way. Let's face it, Angela and Company just cannot be topped.
"Dreamgirls" had a pretty legendary cast, too, or at least one that became such--Jennifer Holliday, of course, Loretta Devine Sheryl Lee Ralph, Clevant Derricks, Obba Bababtunde--but its reputation has always been built around the mistaken notion that this is a one-song show, and nothing else. Yes, the entire first act builds to "And I Am Telling You, I'm Not Going," which, combined, with the lead-in "It's All Over," done as a musical scene, presents the on stage disintegration of Effie Melody White, one of the cruelest scenes depicted; up there with Emil Jannings' breakdown in "The Blue Angel." And, just as "Gypsy" was inspired by real folk, so, too was was "Dreamgirls." More significantly than in "Gypsy," the specter of Diana Ross and The Supremes hangs over the 1981 show; the elimination of Effie is a microscopic presentation of what that bitch, Diana Ross, did to Florence Ballard!!!!!!!!!!! That's right, hons!!!!!!!!!! I don't know if Deena blew Curtis in back seats of cars going 90 miles per hour, but I do know Miss Ross choked on Berry Gordy's big Black dong this way, as a means of advancing her career, at everyone's expense, which turned out to be Florence's death! She even sucked off bathroom janitors at Motown, honey!!!! It is said by some Florence did not die of natural causes, she was murdered, and let me tell you, sweethearts, Diana may not have done the deed, but she set it up! She sent some hit man to Florence's to get her out of the way, because she knew Flo would talk. So, she had Flo killed, so she could act like Meryl Streep at Florence's funeral, thus focusing the event on her, not Flo. Listen, Diana, you rotten, murderous bitch, don't you even think of meeting up with me in some alley, because if you think you are going to blow me, with your skanky 70-year-plus body and ho' mouth, you have another thing coming, sugar, because I am going to smack you across the face!!!!!!!!!!!!!! Just like Flo will, when you cross over!
Originally, "Dreamgirls" was going to follow the Ballard trajectory, and have Effie die, but Jennifer Holliday objected to that, and I agree with her. Michael Bennett faced the same dilemma here, as he did with Cassie in "A Chorus Line." Yes, the truth is Cassie would get turned down, or Effie might die, but you cannot do that to an audience with a character they have come to care for. So, while the ending of "Dreamgirls" is pure musical fantasy, it is a fantasy all of us--not just Theater Queens--love!!!!!!!!!!
The destruction of Effie is wonderfully crafted, but heartbreaking to watch. And while no one will surpass Jennifer Holliday in the role, there is plenty of Black talent out there that can handle "Dreamgirls'" material. Likewise, the breakdown of James Thunder Early (beautifully played by Cleavant Derricks in a TONY winning performance!!!!) is equally heartbreaking. With the lights fading on him, as he goes into obscurity, with the voices intoning, "Show biz...it's just show biz" repeatedly, it was as impacting a moment, as Effie seated at the table, holding her final note, as she fades off, and The Dreams come on. Show business has never been seen as cruel as it in in the treatment of these two tragic characters, two of the most tragic on the musical stage.
Especially with Jimmy eliminated, it was crucial to bring back Effie, so that audiences did not come out of theaters wanting to slit their wrists, like Sylvia Plath.
As I said at the start, many audiences don't get this, with "Dreamgirls." Listen to the cast album; it plays almost like a Black "Merrily We Roll Along," another 1981 show. In fact, like the Sondheim show, if you listen to it backwards, it h as a chronological synchronicity. And the songs--"Move," "Steppin' To The Bad Side" (the transition song), " Cadillac Car," "Ain't No Party" and, of course, "One Night Only," are neglected gems. Listen to the underscoring when Curtis sing s the lines "Deena, this is only the beginning....."
Oh, my God, if you can't recognize this as brilliant musical theater writing, then what do you think is?????
But wait! I have more to say! Here, for you all to see is the musical scene I call "The Destruction Of Effie," done on the 1982 TONY Awards. Take a look at this brilliance, and tell me it does not deserve to be re-examined again.
And Right On! to all the Effies out there, struggling!!!!!!!!!!!!!!
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