If you’re a fan of “American Idol,” you’ve probably heard many young hopefuls audition for their chance at stardom with the number, “And I Am Telling You I’m Not Going.” One can assume these auditionees pick the song because they believe it will showcase their amazing singing ability. This often proves to be the case as we, along with the judges, agree that they are talented singers. But without context, listeners are missing out, no matter how remarkable the vocals.
Within the show Dreamgirls, the number is more than an 11th-hour powerhouse that can bring an audience to its feet. It is a climactic moment for a character who is baring her soul to the man she loves, grieving for what is being taken from her and vowing to succeed on her own. In the right hands, this will do more than get a standing ovation – it will give an audience chills and be deeply moving. You have a chance to be one of the lucky ones who gets to experience this right here, live onstage with the Hoogland Center for the Arts’ production of Dreamgirls.
With music by Henry Krieger and lyrics and book by Tom Eyen, Dreamgirls was the winner of 13 Tony Awards in 1982. A work of fiction, it’s loosely based on the history of The Supremes, the famous 1960s girl group, and their relationship with their record label founder, Berry Gordy. The plot centers on The Dreamettes, a group of three young women – Effie White (Calia C. Cole), Deena Jones (Liyah Orielle) and Lorrell Robinson (Jasmine French) – who are trying to make it on their own in a cutthroat industry. Their breakthrough comes when they are discovered by ambitious car-salesman-turned-music mogul Curtis Taylor Jr. (Reggie Guyton), who helps them transition from background singers of the James Brown-esque James “Thunder” Early (Jordan Montague) to stars in their own right. On the path to fame, though, loyalties are challenged, hearts are broken and relationships damaged.
Many plot points, characters and relationship dynamics in the musical mirror real events and people from The Supremes’ story, such as the rivalry between the lead singer, Diana Ross, and group member Florence Ballard, along with the relationship between Gordy and Ross. In Dreamgirls, we see the gifted Effie replaced as lead singer of The Dreams with the more commercially viable Deena and suggestions to change their sound by the controlling and manipulative Taylor, in an attempt to appeal to a wider audience.
It’s a historical reality that for many Black artists in the 60s and 70s, their music was often repackaged for white audiences, stripping them of creative autonomy and equitable financial reward. Dreamgirls confronts these systemic injustices, particularly the intersectional barriers of race and gender, by depicting Black female artists achieving success in a male-dominated industry while navigating the commodification of their music for mainstream appeal. And it does this with a production that delivers on all fronts.
Jasmine French, Liyah Orielle and Calia C. Cole portray The Dreamettes, three young women trying to make it in the cutthroat music industry. PHOTO BY CE NOEL PHOTOGRAPHY
The show is directed by Nattalyee Randall, a Springfield native who’s currently a professional actor, writer, producer and director in New York City and who herself has played Effie White multiple times. She and the entire creative team have built a truly memorable production that moves at a marathoner’s pace and appeals to the heart as well as the senses. Perfectly stylish costumes by Rene Blank and Cindy Wall and their team of hardworking dressers are impressive; scenic designs that pop by Craig Williams II, illuminated by Kevin Zepp’s lighting, effectively evoke the era and the mood throughout the production, as do the realistic and stylish wigs by Heidi Dillon. A trio of co-choroegraphers (Morgan Kaplan, Andrew Maynerich, Luke Evan Busboom) have the cast always moving with hardly a wasted gesture as they move to the layered score performed by an orchestra that sizzled.
And then there’s the cast. The majority of the show is sung and the performers expertly traverse this, as well as some intense emotional ups and downs. As Effie White, Calia C. Cole is excellent. Effie’s journey from victim to independent artist stands as a powerful reclaiming of self and forgiveness and Cole succeeds in this while showcasing her remarkable vocals. Her fellow groupmates, the charismatic Jasmine French and the luminous Liyah Orielle, are not just great singers, but also wide-ranging actors who never disappoint. As for Curtis Taylor, Jr., I’m not sure I’ve seen Reggie Guyton better – and that’s saying a lot, because he’s always fantastic.
Other standouts include Justin Johnson and Effie’s supportive brother and manager, C.C. White, the outrageous James “Thunder” Early played wonderfully by Jordan Montague and Marty, played by Kevin Ford. Lexi Tyus also deserves a mention as Michelle, Effie’s eventual replacement in The Dreams.
Catch this one if you can. Dreamgirls continues Aug. 29-31 at the HCFTA. Tickets can be purchased by calling 217-523-2787 or visiting hcfta.org.
This article appears in August 28-September 3, 2025.
