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| 1 | 3 This publication is based on the work of Dreamgirls with book and lyric

| 1 | 3 This publication is based on the work of Dreamgirls with book and lyrics by Tom Eyen, music by Henry Kreiger, and direction and choreography by Michael Bennett. The content of the Dreamgirls edition of StageNOTES™: A Field Guide for Teachers is fully protected under the copyright laws of the United States of America and all other countries with which the United States has reciprocal copyright relations. All rights regarding publishing, reprint permissions, public readings, and mechanical or electronic reproduction, including but not limited to, CD-ROM, information storage and retrieval systems and photocopying, and the rights of translation into foreign languages are strictly reserved. Printed in the United States of America First Printing, May, 2010 Look for the Original Broadway Cast Recording on Decca U.S. For more information on StageNOTES™ and other theater arts related programs for students, contact: Camp Broadway LLC 336 West 37th Street, Suite 460 New York, NY 10018 Telephone: (212) 575-2929 Facsimile: (212) 575-3125 Email: info@campbroadway.com www.campbroadway.com ©2010, Camp Broadway LLC All rights reserved Synopsis DreamGirls D reamgirls opens as the 1962 talent contest is getting underway at New York City’s renowned Apollo Theatre. Backstage, however, sheer chaos reigns. James “Thunder” Early’s back up vocalists have decided to walk out on him, forcing Jimmy’s manager, Marty, to anxiously look for replacements. Meanwhile, the musical trio, The Dreamettes, comprised of Deena, Effie and Lorrell arrive late at the theater, and the M.C. informs them that they have lost their spot. But Curtis, a smooth-talking used-car dealer, persuades the M.C. to allow the girls to perform their act. The Dreamettes perform, and although they harbor dreams of instant fame and stardom, they end up losing the contest. Curtis attempts to cushion their loss by explaining that breaking into show business involves hard work and perseverance. After taming Effie’s diva attitude (She resolutely states: “I’m not singing behind anybody”) and warning her of the difficulty of going into the brutal world of show business alone, Curtis persuades the Dreamettes to take him on as their manager. His first act as manager: he gets them hired as Jimmy’s backup singers tonight and during his ten week tour. As the Dreamettes and Jimmy Early begin working together, Dreamgirls details the conflicts that these performers face both from the world outside and from within their own group. C.C., Effie’s brother, writes a song for Jimmy and the Dreamettes to perform called “Cadillac Car.” The song initially does well on the charts, but ends up getting more attention when it is covered by white artists. (At the time, this was a common occurrence: songs originated by black artists only got significant radio air time if they were sung by white artists. Stations would play “Hound Dog” sung by Elvis Presley while they wouldn’t play the same song sung by Big Mama Thornton.) Curtis decides to fight back by using “payola” — paying DJs to play Jimmy and the Dreamettes’ next song, “Steppin’ to the Bad Side.” The song becomes a hit, motivating Curtis to aim higher and higher. He arranges for Jimmy to play at the Atlantic Hotel in Miami, making Jimmy the first African American singer to perform there. Next, Curtis announces that he is bringing the giving the Dreamettes their own act (and changing their name to The Dreams.) However, success comes with a price. Curtis explains that Deena will sing lead because, while she has a smaller voice than Effie, she is more traditionally attractive and will be more likely to appeal to audiences. Although he attempts to explain that “it’s nothing personal,” the decision leaves Effie feeling hurt and offended; she only reluctantly agrees to the arrangement after C.C. makes grand promises, claiming that her submission will pave the way to greater successes for the group. Curtis’ insistence on success at any cost also stirs up anger and resentment from the more ethical Marty, finally causing him to leave Jimmy. Tensions continue to grow within the group. Lorrell idealistically leapt into a relationship with Jimmy, believing that love was all that truly mattered. But she begins to realize there are consequences to carrying on an affair with a married man. And as Curtis (who is in a relationship with Effie) begins to pay more and more attention to Deena, pushing her into the spotlight, Effie reacts by hurling insults at Deena. Finally, just before a show in Las Vegas, Effie abruptly finds out that she has been replaced by a new singer: Michelle Morris. The Dreams, C.C. and Curtis all inform Effie that she is no longer welcome in the group. As Dreamgirls continues, Effie and the others each struggle to overcome blindness and denial and to do what is right for themselves and for others. Effie learns to change her attitude; success requires not only talent but hard work. Likewise, Lorrell and Deena learn to take control of their own lives. Lorrell learns not to keep waiting for Jimmy to leave his wife. Deena battles Curtis’s attempts to turn her into a product, and stands up for her own dreams of acting in important films. C.C., too, must overcome long years of denial, and apologize to Effie for turning against her. After Jimmy pushes the bounds of propriety too far during a concert performance, Curtis fires him. C.C., too, breaks away, leaving Curtis and reuniting with Effie. She sings C.C.’s song, “One Night Only,” and the song seems as if it will be Effie’s big break. However, Curtis immediately attempts to have the Dreams cover the song, stealing the spotlight from Effie. Marty, Effie and C.C. react to this by coming to Curtis and threatening that they will take legal action against him. Deena and Effie begin speaking to one another again. Effie joins the other Dreams onstage for their last performance at their farewell concert. ...‘Dreamgirls’ details the conflicts that these performers face both from the world outside and from within their own group. 4 | | 5 reamgirls was inspired by the story of the Supremes, one of the most popular musical groups in the 1960s. The Supremes became known not only for their music, but also for their glamorous, polished image. Singers Mary Wilson and Florence Ballard met at a talent contest while they were students in high school. Both were residents of the Brewster housing project in Detroit, Michigan. They recruited two other girls to become part of the group – Barbara Martin and Diane Ross (who would only later change her name to Diana.) The group was originally known as The Primettes (because they performed as a “little sister” act with the group The Primes, later known as The Temptations). They would perform at contests and amateur shows (although each of the girls occasionally had to drop out for a while, if their parents felt their grades were suffering.) Berry Gordy, the record producer who founded the famous ‘Motown’ label, had a recording studio in a house at 2648 West Grand Boulevard known as “Hitsville.” The girls (now just the trio of Wells, Ballard and Ross) hung around the studio hoping to be noticed. They did anything from help clean the offices to pitch in as additional background singers or adding hand-claps on a recording. Berry Gordy thought they were too young to become a group – but finally he gave in. He wanted the group to have a new name, and gave Florence Ballard (who was generally acknowledged as the trio’s leader) a list of names to pick from. The list included names like “The Darleens” “The Sweet P’s” “The Melodees” and “The Jewelettes.” She chose “The Supremes.” Berry Gordy’s sister Gwen had attended a finishing school run by a woman named Maxine Powell. Gwen encouraged her brother to send his singers to Powell to acquire a more polished style. Maxine Powell taught the Supremes (and other Motown artists) how to present themselves onstage and in public. They worked on posture, movement, and dressing with style, as well as how to enter a room, and talk with reporters and fans. The Supremes’ style – dressed alike in glamorous wigs and gowns – made them stand out from other groups. Maxine Powell told them they should act as if they were performing in front of kings and queens. This self- confident elegance was a large part of the group’s growing popularity. After a slow start, The Supremes had five number one hits in a row starting in 1963-64: “Where Did Our Love Go”, “Baby Love”, “Come See About Me” “Stop! In The Name of Love” and “Back In My Arms Again.” By 1965 they were one of the most popular musical groups in the world – second only to the Beatles. Berry Gordy and Diana Ross began a romantic relationship, leading to Gordy singling Ross out as the “star” of the group – in 1967 they became known as “Diana Ross and The Supremes.” Florence Ballard did not take the changes very well. Frustrated and angry, she would miss rehearsals uploads/s3/ dreamgirls-study-guide.pdf