'Dreamgirls' Finds Strong Footing in Buffalo

Dreamgirls at Shea's 710

Ansari-Saxon Productions tackles the Broadway musical with local talent and clear artistic vision

By ANTHONY CHASE

The newly-formed Ansari-Saxon Productions has taken on an ambitious debut project in collaboration with Shea's: Tom Eyen and Henry Krieger's "Dreamgirls." a musical fable that takes its inspiration from the story of The Supremes and how Motown’s Berry Gordy transformed three friends from the projects of Detroit into international mega-stars. The show demands both vocal powerhouses and dramatic sophistication. It’s a big show, but this Buffalo company delivers a production that succeeds in overcoming its numerous challenges to find genuine moments of emotional truth within this familiar story of the rise to stardom.

Co-directors, Naila Ansari Carbonell Catilo (who also choreographed) and Karen Saxon (who doubles as music director), have crafted a staging that understands the musical's dual nature as both glittering entertainment and sobering morality tale. Set against the backdrop of the 1960s-70s music scene, "Dreamgirls" has always been more than a backstage musical—it's a pointed examination of how the entertainment industry has historically exploited Black artists, appropriated their music, and prioritized marketability over talent or fairness, especially for women.

At the heart of any "Dreamgirls" production stands the towering challenge of Effie White, a role that has intimidated regional theaters since the musical's premiere. Conventional wisdom suggested that such a demanding part would need to be cast from New York's pool of seasoned professionals. Then Dasia Cervi stepped forward and proved everyone wrong.

Cervi inhabits the character's journey from high-maintenance aspiring artist to betrayed outcast to hard-won survivor. Her powerhouse interpretation communicates that Effie's vocal strength stems as much from emotional truth as from technical skill. When she delivers the musical's most famous number, "And I Am Telling You I'm Not Going," it arrives as the inevitable explosion of a woman who has been pushed beyond her limits.

As Curtis Taylor Jr., George L. Brown presents a forceful and formidable portrait of a man whose vision extends beyond his moral boundaries. Brown avoids the tempting trap of playing Curtis as a mere villain. Instead, he reveals the seductive logic of compromise, showing how someone can rationalize increasingly questionable decisions in service of a larger dream. His Curtis is genuinely compelling, even seductive, as he gradually becomes genuinely destructive (and sings powerfully while doing it).

Talia Mobley brings nuanced complexity to Deena Jones, the backup singer who becomes an unwilling megastar. Mobley's performance traces Deena's evolution from eager participant to conflicted beneficiary of Curtis's machinations, finding the human cost of a success that comes at others' expense.

George L. Brown as Curtis and Augustus Donaldson as Jimmy

Shylah Akiya captures Lorrell's role as the group's diplomatic heart, the naive little sister obliged to be peacemaker and tie-breaker who must grow up and learn her lessons the hard way. Augustus Donaldson brings spirited energy to Jimmy Early, embodying the uncontrollable talent whose authenticity becomes a liability in the commercial music world. Affable and charismatic Austin Marshall provides the musical's conscience as C.C. White, Effie's devoted brother with a gift for writing pop hits—the artist who tries to balance creative integrity with commercial demands, initially blinded by the seeming logic of Curtis's manipulations. A polished performer, he has a compelling stage presence and is eminently likable.

Zhanna Reed steps into the challenging role of Michelle Morris, the Dreams' third member, with the poise of a consummate professional. Leggy and elegant, Reed's Michelle represents the made-to-order perfection that the industry demands, yet Reed finds moments of genuine humanity and flint within the character's polished surface.

Connor Graham deserves special mention for his multi-character work. His first appearance as a Pat Boone-style performer covering "Cadillac Car" immediately drew knowing laughter from the audience. Graham handles the comedic demands of the role effectively while serving the show's larger point about cultural exploitation.

The ensemble—Damario Burks, Jacqueline Cherry, Jairus Drayton, Jonise Hall, Nelquan B. Jones, Taliyah Oaks, Anika Pace, Nahiem Paris, Megan Rakeepile, and Kendric Warrick—provides the energy and versatility that transforms Shea's 710 Theatre into the Motown universe, seamlessly shifting between backup singers, record executives, and the various characters that populate the Dreams' world.

Ron Schwartz's scenic design achieves economy that reads as opulence. His set evokes the glitz and overstatement of 1960s Motown without overwhelming the performers or the budget, creating a world where dreams and commerce intersect in gleaming surfaces and bold geometries.

Phylicia Robinson Dove's costume and hair design deserves praise for understanding that, taking inspiration from the real-life Supremes, the Dreams' visual presentation isn't mere decoration but a crucial element of their artistic identity. The matching gowns, sequined evening wear, and sleek hairstyles create an image of refined luxury that feels both aspirational and accessible. Her meticulously crafted look asserts that polish and sophistication were as important to a singing group as their sound in 1960s Motown.

Nick Quinn's sound and lighting design provides the technical foundation that allows both the intimate character moments and the explosive musical numbers to register with equal impact, creating the sonic landscape where personal dreams and commercial realities collide.

What elevates this production beyond mere nostalgia is its clear-eyed engagement with the musical's moral complexity. "Dreamgirls" examines how the pursuit of stardom can corrupt relationships, compromise artistic vision, and demand personal sacrifices that ultimately prove too costly to bear. Under Ansari Carbonell Catilo and Saxon's direction, this isn't presented as a simple binary choice between "real" and "fake" artistry, but as a complex negotiation between artistic vision and commercial reality that every performer must navigate.

For Ansari-Saxon Productions, this "Dreamgirls" represents an auspicious beginning. In a story about dreams deferred and dreams achieved, the company has realized their own dream of bringing a high-quality production to Western New York using local talent.

Dreamgirls at Shea's