Estate / Collection: Property of Technical Production Manager Jake Bell

DREAMGIRLS

Jake Bell’s annotated production script and two others from Dreamgirls. The production script a blue three-ring binder marked "Dreamgirls 1982/calling script/Jake Bell." The printed script with title page with "Final Draft Pending Approval/January 28, 1982," the script itself a revision dated from November/December 1981 (the show opened on Broadwar on Dec, 20, 1981), approximately 50 hand-annotated pages with many sheets backed with automation instructions, an original Playbill laid-into the front flap. Some wear and stray stains from use. Present is also two brad-bound scripts, both noted as "Final Draft/January 10, 1983," one with a purple cover and the name "Jake" in ink to the title, the other with a red title and an unknown name to the title. Both slightly worn but generally clean and fine; Together with an original Dreamgirls show poster, 14 x 22 inches; a framed crew and wardrobe photo, 7 x 9 inches; and a satin jacket with the show's logo to the back and Jake's name embroidered on the front, somewhat soiled and worn.

Technical Production Manager Jake Bell's memories of Dreamgirls:

Produced by Michael Bennett, Bob Avian, David Geffen, and the Shubert Organization, Dreamgirls was nominated for 13 Tony Awards and won six. The show was directed and choreographed by Michael Bennett, with scenic design by Robin Wagner, costumes by Theoni Aldredge, and lighting by Tharon Musser. The intense choreography was largely influenced by Michael Peters, who gained fame when he choreographed Michael Jackson's Thriller. Peters was the co-choreographer and won the Tony for Best Choreography alongside Bennett. Otts Munderloh designed the sound, which was so complex it required two sound console operators. At the time, there was no Tony Award for Sound.

Dreamgirls was an award-winning Broadway musical that seamlessly blended R&B, pop, soul, and gospel music with a compelling narrative based on the rise and fall of a Motown girl vocal group. Loosely inspired by the Supremes, the show earned critical acclaim. It was one of the first musical Broadway productions to feature a predominantly Black cast and involved an impressive number of costume changes, many of which took place right on stage.

Jennifer Holliday, a talented singer from Houston with little acting experience, took home the Tony Award for Best Actress in a Musical. Under Michael Bennett’s direction, which was far from nurturing, Holliday gave a performance that left audiences in awe. Her powerhouse voice commanded attention and stopped the show at every performance, including the Tony Awards.

Dreamgirls was produced before the era of computerized automation. The show featured five towers, each of which had to be manually moved on and off stage, as well as rotated left and right. These towers were motorized but operated manually. Each tower sat on a track with switches to accommodate different blocking positions. Motors mounted on top of each tower were connected to cables, which allowed the towers to rotate according to cues. The coordination of these movements was a highly complex task, and while the individual techniques were not new, executing them together posed a significant challenge in terms of timing and scenic design, especially without computerized automation. The production of Dreamgirls marked a turning point, highlighting the need for the theater industry to embrace computerization. As with other sectors, the progression toward automation in theater was inevitable.

The concept of “sound balance” has always been critical in musicals to ensure that the orchestra doesn't overpower un-mic’d voices on stage. Over time, as technology advanced, it became standard practice to mic both the orchestra and the majority of actors on stage. This shift in sound control was made possible with the introduction of the sound board/console at the back of the house. However, when Dreamgirls was produced, things were different. The technology of the time meant that only five wireless microphones were available to accommodate multiple actors, each with a switch. Foot mics were used on stage, while the orchestra relied on hardwired microphones. This setup required two sound operators and four soundboards.

In one of the show’s most memorable numbers, “Step Into the Bad Side,” a bridge flew in from above the stage with actors already positioned on it. The performers had to be pre-positioned three stories up and step out onto the loading platform rigging without safety harnesses. They then had to walk across a narrow 2 ½ foot-wide bridge to their designated spots in complete darkness—no flashlights were allowed, as even the smallest light would be visible from below. The bridge had a rail at the back, but no protection at the front. The actors would dance on the bridge, then it would fly away.

At the time, there was no OSHA oversight in theater, and the cast and crew simply carried on, thankfully without incident.