Dreamgirls has been an unexpected hit with the American public.  The music takes us back to the 1960s and 1970s and to an era of political unrest and change, especially for civil rights and African Americans.  All this is present in Dreamgirls.

There is the usual disclaimer at the end of the film that characters and events do not refer to any actual person or happenings, that any similarity is coincidental.  Well, this time that warning must be taken with a grain of salt.  Even the press notes offer some background to the establishment of the Motown company by Berry Gordy and the career of Diana Ross and the Supremes.  Of course, it is fictionalised but, at times, only just.

The musical was first staged on Broadway in 1981, in the aftermath of A Chorus Line.  So, this is a musical about the theatre, about hopefuls who audition for a career, about dreams and nightmares as personalities clash and rivalries take their toll.  This familiar scenario always makes for interesting and involving drama.

The setting is Detroit during the Kennedy era.  Vietnam is in the offing.  Martin Luther King is dreaming his dream.  Racial prejudice is rife,  but African American musicians and entertainers are making their mark and entering the mainstream.  Three young girls sing at a talent quest and an enterprising car salesman invites them to be backup to a popular singer.  Stars are born.

The story of the three girls resembles that of the Supremes.  One of the demure backup singers, Deena, is eventually chosen to be lead when Effie, the temperamental but forceful front, is fired.  Deena (not much of a leap to Diana!) becomes a glamorous star and marries Curtis, the entrepreneur, and lives a life of fame and luxury under the severe control of her husband.  Effie has a daughter but years later makes a comeback as a soloist in the Aretha Franklin vein. 

The theatre book has been adapted for the screen by Bill Condon (who adapted Chicago and directed the striking films, Gods and Monsters and Kinsey).  While it has been opened out, it is still recognisably an adaptation.  Like Chicago, the songs are the means for establishing characters and motivations.  In the way that opera does, the characters speak, communicate in recitatif that moves into music and song, much of which is dialogue singing.  It works.  

The score reflects the black community’s musical heritage, Gospel, rhythm and blues, jazz.

While the focus is on show business, there are enough reminders, especially in the destructive race riots in Detroit where most of the action takes place, of the turmoil of the times.  The racism is especially forceful when the star singer, Jimmy Early, is booked in a Miami club and alienates the white audience with his gyrations and perceived provocativeness.

Which leads to a comment on the excellent cast.  The standout is newcomer Jennifer Hudson as Effie (who is reported to have lost on TV’s American Idol – it would be fascinating to see the winner perform).  She has a four octave range, a large presence (literally) and can make potent drama with her singing.  Popular singer Beyonce Knowles makes the transition from quiet back up singer to Diana Ross star quite credible.  Jamie Foxx is the callow Curtis who has no appreciation of art or entertainment.  Everything is business, even his wife’s career.  Surprise casting is Eddie Murphy as Jimmy Early. He is always good for comedy but is persuasive here in the serious situations and does his own singing.  He and Jennifer Hudson won most of the awards for Best Supporting Actor and Actress for 2006.

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