The process of thinking, what constitutes creative production?

How do ideas move from

the mind of the writer to the page, to the creative vision of the director and designer in
the 2016 stage play Dreamgirls?

In this essay, I aim to discuss the creative process of thinking, behind the 2016 West End
musical production Dreamgirls (Savoy Theatre, London). I will explore creative provocations
in an attempt to understand the development of ideas, and how these ideas move from the
mind of the writer to the page; and to the creative vision of the director and designer.
Dreamgirls, first staged in 1981 (New York Imperial Theatre), was written by Tom Eyen
with music by Henry Krieger, in 1975. The show was directed by Michael Bennett and
designed by Robin Wagner. In 2016 Tom Hatley designed and Casey Nicholaw directed the
West End remake. Both versions of the production were well received by audiences and
earned Grammys for Best Musical Album and Best Vocal Performance.

Writing for the stage requires a great deal of the ingenuity, as not all plays are written from
personal experience. TV director Graeme Harper writes that the “imagination is key to
creative writing,”1 suggesting facts may take a backseat when building a text. Dreamgirls, is
said to take its central inspiration from difficulties within music industry in the 60’s,
specifically racial and gender inequality, proposing the text used more than the imagination.
Henry Krieger explains, “We had a vision together of the kind of music that we grew up with
becoming part of a Broadway stage musical.”2 Although Krieger make no mention of girl
group The Supremes, the musical performance and Motown’s private affairs cast similarities
on the text. Eyen and Krieger deny these influences stating the play is “Broadway music put
through the filter of these people at this time.”3
Eyens play makes clear connections between the racial injustices taking place in America
throughout the Civil Right movement of the 50’ and 60’s, prevalent in the entertainment
industry. The treating of black artists in music compared their white counterparts is made
obvious and observed throughout the play. Brecht once said, “Art is not a mirror to reflect
reality, but a hammer to shape it,”4 Dreamgirls is not a mere a creation of the imagination,
but a reflection of societal problems, the text prompts the audience to think.
Eyen also drew attention to disparities between gender and the fight for women’s rights. The
dissatisfaction among gender gaps and sexual harassment in the workplace led to change in
American society. The plays protagonist Effie, experiences these struggles in a white, male
dominated industry. He writes of Effie leaving the Dreamgirls due to a work-related
pregnancy, and left to rebuild her career from the ground up. Eyen also gives insight into the
male equivalent, as former partner, manager, and now father to Effie’s, child moves on to the
next relationship and steadily walks to stardom without conflict.
Feelings of discontent in the black American community and tension between genders are
strung together through the writers’ creativity, however stage designer Michael Holt, explains
“The script provides the basic structure, but the show is only defined in performance”5,
suggesting the text cannot exist without direction and elements of design.

1
Editorial, Synthesis: the strength and means of creative writing, Graeme Harper, Pages 291-292 | Published
online: 03 Sep 2017
2
Backstage Pass: Making 'Dreamgirls' Come True, Sharp, Ken - Author Information, Goldmine; Iola,
Wis. Vol. 34, Iss. 11, (May 23, 2008): 31
3
Backstage Pass: Making 'Dreamgirls' Come True, Sharp, Ken - Author Information, Goldmine; Iola,
Wis. Vol. 34, Iss. 11, (May 23, 2008): 31
4
Bertolt Brecht
5
A Phaidon Theatre Manual: Stage design and properties, Michael Holt, Phaidon Press Limited 1988, Oxford,
pg 37
The directors’ role is to oversee the shape of the performance; however, their creative vision
can only be brought to life through the marrying of design and performers. Director, Stephen
Urwin believes “Directing, like any art form, is an expression of the subconscious. And like
every artist you will have to learn how to draw on your own resources,”6 implying that unlike
the creative development of the writer the director is expected to deliver a personal response.
Casey Nicholaws’ Direction for the 2016 West End production of Dreamgirls, honours the
original production. His depiction of the music industry is delivered through the insignificant
Effie. Though specifically appealing to black females the story of an underdog who comes up
against adversity is relatable to everyone.
Care must be taken when casting characters who embody the role. The original play cast by
Michael Bennett starred Jennifer Holliday. Bennett had been impressed by her role in Your
Arms Are Too Short to box With God, and predicted she would Effie’s role perfectly.
Holliday wowed audiences with her performance of “And I’m Telling You I’m Not Going”
and delivered such quality performances finding the equivalent for the 2016 version would
prove difficult.
Nicholaw explains Amber Riley, was the first name suggested by the casting agent for the
2016 production, and going forward was the only actress desired for the leading role.
Similarly, to Holliday, Riley was selected by Nicholaw as her stage presence is both
formidable and wrenching and is said to have won several mid-performance ovations and
even standing ovations.
As a musical understanding the period of the script is imperative to the success of the play.
Urwin believed as a director you “should immerse yourself in the culture of the period, the
music, the poetry, the paintings and novels,”7 to authentically present the history and culture
behind the music. The appropriate musical sound of the period is essential as it aids the
audiences’ understanding of the story without disruption. Bennett was successful with
showing the reality of showbiz, by casting actors who understood black culture, had
experienced racial and gender discrimination, but were also very much immersed in the
entertainment industry. It is assumed the director possesses the creative power of a
production, however beyond casting it is the actors and designers with the power to bring the
playwrights text to life.

The stage designer is tasked with bringing the creative vision of the director to life, through
stage design, costume and lighting. Their contribution to the overall performance aids the
audiences’ concentration, helping to link the dialogue with the action, and illustrating the
undertones of the play. Tim Hatleys’ 2016 stage design for Dreamgirls greatly replicates the
original designed by Robin Wagner. The set being complicated includes many stage
transitions, moving towers, lights and platforms. The Guardian states, “Tim Hatleys’ sets are
constantly on the move, creating a succession of stages, dressing rooms and recording
studios.”8 The stage progresses from simpler paneled backdrops to shimmering crystal
curtains, to reflect various levels of fame.
Hatley as a designer is asked to make a historical/social response to the script, in order to
strengthen the issues presented. With one of the issues being “the struggle to stardom” Greg
Barnes (costume designer) has used costume to show the progression to the top. Beginning

6 So You Want To Be A Theatre Director, Stephen Unwin, 2004, London , Nick Hern Books Limited, pg 6
7
So You Want To Be A Theatre Director, Stephen Unwin, 2004, London , Nick Hern Books Limited, pg 45
8
Dreamgirls review – fantastic ride on the showbiz rollercoaster Lyndsey Winship, Wed 14 Dec
2016 23.00 GMT
with drab dresses paired with cheap wigs and swiftly progressing to lush locks and dazzling
gowns. Holt explains that the designers must be “well informed about the historical period of
the play and know precisely how things should look.”9 With the Supremes being prevalent
during the period much influence was drawn from their stage performance. They embraced a
more glamourous image than previous black performers in order to appeal to both white and
black audiences. Glamourous matching gowns, heavy eyelashes and sleek hair styles are
features used to depict the growth of the women’s success.
In an interview Wagner explains his earlier design depicted the Dreamgirls “trapped in a kind
of technology…made up by the music business of which they could never escape”10 Hatley
portrays this through his stage arrangement and mechanical transitions, replicating a machine,
the addition of the glitz and glam serves as a deception to the reality of showbiz.
Wagner suggests the designer does not have a great deal of influence over the design, and
must begin with speaking to the director, who tends to have a vision for the production.

The creative process is a combination of components and has no depth unless social,
historical and personal elements are taken into consideration. Ideas developed by the writer
are drawn from social and historical stimuli, then brought to life by the director and designer.
There are no solid rules to the creative process, but one trend which appears throughout the
creative production of Dreamgirls, is grasping social and historical events to add substance.
Creative production is an extremely collaborative, each arm of the production must be
considered for cohesion throughput the performance. The Writer, Director and Designer are
all called to use their imagination. Creative production therefore moves from the writers’
personal stimulus, which is later developed through research. The director is then able to
select suitable performers, and assess how they personify the characters. Finally, the designer
pulls each vision together visually, taking into account scene changes and transitions, and the
tricks which capture the audiences’ imagination, whilst aiding links between the text and
action.

9
A phaidon theatre manual: Stage design and properties, Michael Holt, Phaidon Press Limited 1988, Oxford, pg
7
10
https://www.youtube.com/watch?v=OUWHrKct8sE
A. Dinero, A. (2013). Sex, Race, and the Politics of Feeling in American Musical
Theatre. Affecting the Musical Self. 1 (1), 1.

Greenleaf Productions. (2016). Amber Riley and director Casey Nicholaw discussing
Dreamgirls. Available: https://www.youtube.com/watch?v=zY6b41BGdEw. Last accessed
18th Jan 2018.

Harper, G. (2017). Synthesis: The Strength and Means of Creative Writing. The
International Journal for the Practice and Theory of Creative Writing . 14 (3), 291-292.

Holt, M (1988). A phaidon theatre manual: Stage design and properties. Oxford:
Phaeton Press Limited. 37.

O'Hanlon. (2016). Exclusive Interview with Dreamgirls Director Casey

Nicholaw. Available: https://www.londontheatre.co.uk/theatre-
news/interviews/exclusive-interview-with-dreamgirls-director-casey-nicholaw. Last
accessed 18th Jan 2018.

Rich, F. (1981). STAGE: 'DREAMGIRLS,' MICHAEL BENNET'S NEW MUSICAL,

OPENS. Available: http://www.nytimes.com/1981/12/21/theater/stage-dreamgirls-
michael-bennet-s-new-musical-opens.html?pagewanted=all . Last accessed 18th Jan
2018.

Rothstein, M. (2007). A Life in the Theatre: Robin Wagner . Available:

http://www.playbill.com/article/a-life-in-the-theatre-robin-wagner-com-138802. Last
accessed 18th Jan 2018.

Sharp, K. (2008). Making 'Dreamgirls' Come True. Backstage Pass. 34 (11), 1.

T. Walsh, K. (2010). The 1960s: A Decade of Change for Women.Available:

https://www.usnews.com/news/articles/2010/03/12/the-1960s-a-decade-of-change-for-
women. Last accessed 18th Jan 2018.

Unwin, S (2004). So You Want To Be A Theatre Director. London: Nick Hern Books
Limited. 6.

Winship, L. (2016). Dreamgirls review – fantastic ride on the showbiz

rollercoaster. Available: https://www.theguardian.com/stage/2016/dec/14/dreamgirls-
review-savoy-theatre-amber-riley-soul-musical. Last accessed 18th Jan 2018.