Arts & Entertainment
First rate ‘Dreamgirls’ wows
Signature production full of unexpected delights, performances

‘Dreamgirls’
Signature Theatre
4200 Campbell Avenue, Arlington
Extended through Jan. 13, 2013
Tickets start at $40

Shayla Simmons, center, as Deena in ‘Dreamgirls.’ Nova Y. Payton, left, as Effie, and Crystal Joy as Lorrell, back her up. (Photo by Chrisopher Mueller; courtesy of Signature Theatre)
The production of “Dreamgirls” now onstage at Signature Theatre is a dazzling delight, a stunning reexamination of an iconic American musical. Talented director and choreographer Matthew Gardiner and his creative team skillfully rethink the show from the ground up, bringing great clarity, intensity and emotional depth to this powerful production, along with lots of sequins and theatrical magic.
“Dreamgirls,” which debuted on Broadway in 1981, was the last great work by legendary Broadway director and choreographer Michael Bennett, who died of complications from AIDS in 1987. The musical, with a sizzling score by Henry Krieger and strong book and lyrics by Tom Eyen, tells the story of the Dreams, a girl group from Chicago (loosely based on Diana Ross and the Supremes) who rise to international music stardom.
The show opens in 1962 when the “Dreamettes” lose a talent contest at the famous Apollo Theatre in New York City, but win a contract as back-up singers for the popular R&B star James “Thunder” Early. They also acquire a manager, used-car salesman Curtis Taylor, Jr., who has big plans for the group. Repackaged as the “Dreams,” the girls soon break out on their own. Curtis moves back-up singer Deena Jones into the lead, hoping that her sexy looks and sultry voice will attract a mainstream (i.e. white) audience. Despite the personal and professional cost to Effie White, the full-bodied and full-voiced original lead singer, “Deena Jones and the Dreams” conquer the charts.
Gardiner, the openly gay associate artistic director of Signature Theatre, brings a fresh eye to this well-known material. His work throughout is richly nuanced, alternating between the spectacular precision of big production numbers and the detailed intimacy of backstage numbers and book scenes. One of the great joys of this production is the sheer variety of performance styles that Gardiner deploys with great confidence and effectiveness: the slick polish of the onstage production numbers, the girls nervously making up the steps the first time they perform with Jimmy, Curtis prompting C.C. (Effie’s brother and the group’s songwriter) as they convince Jimmy to listen to their new sound, the eloquent staging of the group dynamics in “Family,” the elegant simplicity of Effie’s torch rendition of “One Night Only” followed by Deena’s delightfully boisterous disco rendition of the same song. Gardiner captures the full sweep of this classic American story by nailing down all the details.
Gardiner’s sure-footed work is made possible by the outstanding contributions of the design team of Frank Labovitz (costumes), Adam Koch (sets) and Chris Lee (lights). Labovitz’s splendid cavalcade of costumes is an ongoing visual treasure. His beautiful designs help tell the story by tracking the passing years and the changing circumstances of the characters and do so with great visual flair. Koch’s two-tiered set design lets the action move fluidly from backstage to onstage at various performances venues around the country. The set changes are as carefully choreographed as the other movements and just as much fun to watch (although the occasional wobbling of the central hydraulic platform can be a little scary and distracting). Lee’s light design is equally stunning, and together, the design team creates an appealing and highly theatrical whirlwind of shifting perspectives, lighting magic and quick changes.
But any production of “Dreamgirls” depends on its Effie, and Signature Theatre is blessed with the amazing powerhouse performance of D.C. native Nova Y. Payton. Following in the wake of superstars like Jennifer Holliday (a Tony winner in the original Broadway production), Jennifer Hudson (who won an Oscar for her performance in the movie) and Lilias White (who wowed audiences in the famous concert recording), Payton makes the role thoroughly and completely her own. Her work in this show is simply stunning, full of fascinating choices and fresh insights. She purrs when you might expect her to roar, and when she does roar, she blows the roof off the theater.
Payton’s richly detailed acting captures every aspect of the complex character: her love of performing, her prickly pride and deep resentments, her self-destructive tantrums and brave persistence in the face of adversity. Her performance of the show’s signature number “And I Am Telling You I’m Not Going” is devastating in its soaring delivery and its searing pain and vulnerability. In an evening of striking images, the most indelible is a deeply wounded Effie turning to watch the reconstituted Dreams perform without her on the balcony above her. It is a moment of brilliant stagecraft.
Payton’s dynamite performance is matched by Cedric Neal as James “Thunder” Early, who finds unexpected depths in a flashy character inspired by James Brown. His Jimmy is a man of deep passion for his music and for the ladies in his life. His direct interactions with the audience are a bold and delightful choice and his onstage meltdown is a moving spectacle of pride, defiance and self-destruction.
As the third member of the Dreams, and Jimmy’s mistress, Crystal Joy is wonderful as Lorrell Robinson, who tries to play peacemaker between the warring backstage factions. She brings sass, humor and style to a character that can easily fade into the background. Joy subtly builds Lorrell from a star-struck teenager to a mature woman, and her love for Jimmy is as deeply heart-felt as her frustration with his refusal to leave his wife. Shayla Simmons brings similar strengths to her winning performance as Deena, especially in capturing her shifting relationship with Effie and in fleshing out her development from back-up singer to reluctant lead to world-class diva.
It’s magical when first-rate material gets a first-rate production, and that is certainly the case with this show. Krieger and Eyen have created a clear-eyed yet loving portrayal of the joys of performing and the perils of show business, and a rich exploration of the challenges facing black performers when Motown became mainstream. Signature Theatre has taken a great leap with this re-invention of this ambitious musical, and that leap has certainly paid off.
Theater
‘Bad Books’ a timely look at censorship in local library
Influencer vs. conservative parent in Round House production

‘Bad Books’
Through May 4
Round House Theatre
4545 East-West Highway
Bethesda, Md.
Tickets start at $43
Roundhousetheatre.org
While a library might seem an unlikely place for a heated contretemps, it’s exactly the spot where adults go when they’re itching to battle out what books minors might be allowed to read.
In Sharyn Rothstein’s “Bad Books,” two women, The Mother (out actor Holly Twyford) and The Librarian (Kate Eastwood Norris), swiftly become mired in a quarrel that comes with some weighty repercussions.
The Mother is a popular conservative influencer on a mission. She’s furious that the local library has overstepped its bounds and she blames The Librarian, a woman who adheres to the “it takes a village” method of child rearing and is dedicated to the young people who approach her reference desk.
There’s some background. It seems The Librarian who dresses young (tight jackets and Doc Martens) and curses a blue streak, forged a friendship with Jeremy, a teenage library regular.
While the details are a bit hazy, it seems the troubled Jeremy confided in The Librarian regarding some personal issues. In return, she suggested a helpful book – Boob Juice.
Unsurprisingly, based solely on its title, the book has thrown The Mother into a pique of outrage. After finding Boob Juice in her son’s bedroom, she made a beeline to the library; and not incidentally, The Mother hasn’t read the recommended work and has no plans to do so.
Set in a suburb with lax gun laws, the story explores facets of division and conciliation. The Mother insists she isn’t so much about banning books as she is keeping some books away from young people until they’ve obtained parental approval.
“Bad Books” is performed in the round. Built on a rotating stage, Meghan Raham’s set is simple, pleasingly serviceable, and easily transforms from the library into a small corporate office, and later the assembly room of a church. Overhead floats a circular glass shelf filled with a cache of banned books. Things like a rolling book cart and a goldfish bowl add some flavor to the different locations.
The Mother wasn’t always a popular conservative warrior with an enthusiastic horde of followers.
Her past includes penning a book that later filled her with guilt and regret. She refers to that early questionable literary accomplishment as her bad book. And while over the years, she has persevered to find and destroy each and every printed copy, she hasn’t entirely succeeded.
Norris plays three women who figure meaningfully into the arc of Twyford’s mother character. In addition to The Librarian, Norris is The Manager, a broadly played piece of comic relief, and The Editor, a warm woman who reveals things about Jeremy that his own mother never knew.
Smartly staged by Ryan Rilette, the production is part of a National New Play Network Rolling World Premiere. While Rothstein’s script offers two strong roles (skillfully performed by celebrated actors Twyford and Norris), its ending feels too neatly resolved.
In the past, Twyford and Norris have successfully joined forces for numerous DMV productions including Studio Theatre’s production of David Auburn’s two-hander “Summer, 1976,” the story of a longtime and unlikely friendship between two women who meet as young mothers during the Bicentennial summer.
Though different, both The Librarian and The Mother share a strong and ultimately hopeful relationship with words.
There’s a quote from E.B. White’s classic “Charlotte’s Web” that pops up a couple of times in the briskly paced 80-minute play. Charlotte, the wise spider, says, “with just the right words you can change the world.”
Books
‘Pronoun Trouble’ reminds us that punctuation matters
‘They’ has been a shape-shifter for more than 700 years

‘Pronoun Trouble’
By John McWhorter
c.2025, Avery
$28/240 pages
Punctuation matters.
It’s tempting to skip a period at the end of a sentence Tempting to overuse exclamation points!!! very tempting to MeSs with capital letters. Dont use apostrophes. Ask a question and ignore the proper punctuation commas or question marks because seriously who cares. So guess what? Someone does, punctuation really matters, and as you’ll see in “Pronoun Trouble” by John McWhorter, so do other parts of our language.

Conversation is an odd thing. It’s spontaneous, it ebbs and flows, and it’s often inferred. Take, for instance, if you talk about him. Chances are, everyone in the conversation knows who him is. Or he. That guy there.
That’s the handy part about pronouns. Says McWhorter, pronouns “function as shorthand” for whomever we’re discussing or referring to. They’re “part of our hardwiring,” they’re found in all languages, and they’ve been around for centuries.
And, yes, pronouns are fluid.
For example, there’s the first-person pronoun, I as in me and there we go again. The singular I solely affects what comes afterward. You say “he-she IS,” and “they-you ARE” but I am. From “Black English,” I has also morphed into the perfectly acceptable Ima, shorthand for “I am going to.” Mind blown.
If you love Shakespeare, you may’ve noticed that he uses both thou and you in his plays. The former was once left to commoners and lower classes, while the latter was for people of high status or less formal situations. From you, we get y’all, yeet, ya, you-uns, and yinz. We also get “you guys,” which may have nothing to do with guys.
We and us are warmer in tone because of the inclusion implied. She is often casually used to imply cars, boats, and – warmly or not – gay men, in certain settings. It “lacks personhood,” and to use it in reference to a human is “barbarity.”
And yes, though it can sometimes be confusing to modern speakers, the singular word “they” has been a “shape-shifter” for more than 700 years.
Your high school English teacher would be proud of you, if you pick up “Pronoun Trouble.” Sadly, though, you might need her again to make sense of big parts of this book: What you’ll find here is a delightful romp through language, but it’s also very erudite.
Author John McWhorter invites readers along to conjugate verbs, and doing so will take you back to ancient literature, on a fascinating journey that’s perfect for word nerds and anyone who loves language. You’ll likely find a bit of controversy here or there on various entries, but you’ll also find humor and pop culture, an explanation for why zie never took off, and assurance that the whole flap over strictly-gendered pronouns is nothing but overblown protestation. Readers who have opinions will like that.
Still, if you just want the pronoun you want, a little between-the-lines looking is necessary here, so beware. “Pronoun Trouble” is perfect for linguists, writers, and those who love to play with words but for most readers, it’s a different kind of book, period.
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Friday, April 18
“Center Aging Friday Tea Time” will be at 2 p.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more details, email [email protected].
Go Gay DC will host “LGBTQ+ Community Social in the City” at 7 p.m. at Hotel Zena. This event is ideal for making new friends, professional networking, idea-sharing, and community building. This event is free and more details are available on Eventbrite.
Trans and Genderqueer Game Night will be at 6 p.m. at the DC Center for the LGBT Community. This will be a relaxing, laid-back evening of games and fun. All are welcome and there’ll be card and board games on hand. Feel free to bring your own games to share. For more details, visit the DC Center’s website.
Saturday, April 19
Go Gay DC will host “LGBTQ+ Community Brunch” at 11 a.m. at Freddie’s Beach Bar & Restaurant. This fun weekly event brings the DMV area LGBTQ+ community, including Allies, together for delicious food and conversation. Attendance is free and more details are available on Eventbrite.
LGBTQ People of Color Support Group will be at 7 p.m. on Zoom. This peer support group is an outlet for LGBTQ People of Color to come together and talk about anything affecting them in a space that strives to be safe and judgement free. There are all sorts of activities like watching movies, poetry events, storytelling, and just hanging out with others. For more information and events for LGBTQ People of Color, visit thedccenter.org/poc or facebook.com/centerpoc.
“Spark Sapphic Social” will be at 8 p.m. at Spark Social House. This weekly sapphic social is an opportunity to mix and mingle with other sapphics in D.C.’s newest LGBTQ bar. This event is free and more details are available on Eventbrite.
“DC Drag Brunch on Rooftop – Penthouse (Formerly at Lima Twist)” will be at 12 p.m. at Baby Shank Rooftop. Hosted by Miss Capital Pride, this is the ultimate drag brunch experience in Washington, D.C., featuring the fiercest queens around. Prepare to be entertained by glamorous drag queens and celebrated celebrity impersonators, including Taylor Swift, Lady Gaga, Beyoncé, Britney Spears, Nicki Minaj, Ariana Grande, Whitney Houston, Cher and many more. Tickets cost $27 and are available on Eventbrite.
Sunday, April 20
Queer Crayon Club will host “Queer Sketch Social” at 3 p.m. at Sinners and Saints. This is a fun event for LGBTQ+ adults to come together and color. Attendance is free and more details are available on Eventbrite.
Monday, April 21
“Center Aging Monday Coffee & Conversation” will be at 10 a.m. on Zoom. This is a social hour for older LGBTQ+ adults. Guests are encouraged to bring a beverage of choice. For more details, email [email protected].
Tuesday, April 22
Genderqueer DC will be at 7 p.m. on Zoom. This support group is for people who identify outside of the gender binary. Whether you’re bigender, agender, genderfluid, or just know that you’re not 100% cis – this is your group. For more details, visit www.genderqueerdc.org or Facebook.
Coming Out Discussion Group will be at 7 p.m. on Zoom. This is a peer-facilitated discussion group and a safe space to share experiences about coming out and discuss topics as it relates to doing so. For more details, visit the group’s Facebook.
Wednesday, April 23
Job Club will be at 6 p.m. on Zoom. This is a weekly job support program to help job entrants and seekers, including the long-term unemployed, improve self-confidence, motivation, resilience and productivity for effective job searches and networking — allowing participants to move away from being merely “applicants” toward being “candidates.” For more information, email [email protected] or visit thedccenter.org/careers.
Asexual and Aromantic Discussion Group will be at 7 p.m. on Zoom. This is a space where people who are questioning this aspect of their identity or those who identify as asexual and/or aromantic can come together, share stories and experiences, and discuss various topics. For more details, email [email protected].
Thursday, April 24
Virtual Yoga with Sarah M. will be at 7 p.m. on Zoom. This is a free weekly class focusing on yoga, breath work, and meditation. For more details, visit the DC Center for the LGBT Community’s website.
DC Anti-Violence Project Open Meeting will be at 7 p.m. on Zoom. This meeting is open to anyone interested in learning more and getting involved in lessening violence both within and directed towards the LGBT communities. For more information, visit Facebook or Twitter.
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