The current incarnation of Tom Eyen and Henry Krieger’s” Dreamgirls” is not to be compared to the 1981 original or to the 2006 movie.
Robert Longbottom’s electrifying, exciting production totally stands on its own. It is exactly the upbeat dazzling musical we need now to shake those blues away and dare to dream.

The production values are colorful and splashy with Robin Wagner’s incredible set of moving panels, with projected images by Howard Werner. I felt as if I were traveling to Vegas and Paris with the “Dreamettes.”

William Ivey Long’s costumes tell the story as the girls go from drab to glitz and glam. The costumes are spectacular, and there are many quick changes, literally, as the girls walk off and come back on in a minute in different diva gowns. In one scene, Effie (Moya Angela) is in a rather plain top and pants as she auditions. Ken Billington’s sometimes blinding lighting, settles as a spot on her face as she sings. In an instant, the lighting pulls back, and Effie is suddenly transformed into a diva in a magnificent glittering gown. Wow!

Angela isn’t standing in anyone’s shadow either. Her rich, full, and emotionally penetrating voice establishes her in a league of her own. There was Jennifer Holliday and Jennifer Hudson. Now, there is Moya Angela. Her Effie sings her soul out in her big numbers, “And I Am Telling You I’m Not Going” and “I Am Changing” and “One Night Only.” She gets the volume, and the emotions. I felt her heart wrenching despair in “Not Going” and then her courage and absolute determination in “I Am Changing” as she belts her way back to the top. What a set of pipes!

Longbottom and Shane Sparks choreography adds to the mix and the audience’ heads were bobbing and feet tapping along to the lavish production numbers. The music and lyrics are as timely and dynamic as in 1981. The Supremes’ rise to stardom provided the inspiration for the book. The three “Dreamettes” enter a contest and are in the right place at the right time. They don’t win the amateur contest, but they get a manager in the Berry Gordy type character of Curtis Taylor Jr. This smooth, slick car salesman becomes the man behind the “Dreamettes” success into sophisticated “Dreamgirls.” Chaz Lamar Shepherd does slick and smooth convincingly as he creates “The Dreamgirls” and seduces Effie and then Deena Jones, the slim backup he replaces the plump Effie with. He thinks “Effie has the voice; but Deena has the looks.” The role of Deena is patterned after Diana Ross and Syesha Mercado, “American Idol” finalist, does an admirable job of bringing this character to life.

Lorrell Robinson, (Adrienne Warren) is the third Dreamgirl who falls deeply for the married James “Thunder” Early (Chester Gregory). Gregory, in the James Brown role, has some superbly sexy moves with swiveling hips and a dynamic voice. However, he is not convincing as the sexual lothario. He isn’t an oily or bad enough dude. His sweetness seeps through. My mind did go back to Eddie Murphy’s James Brown character. But, Gregory, while not quite inhabiting the role, gives his all and his vocal instrument is excellent. The cast is rounded out with Trevon Davis as C.C. White, who plays Effie’s songwriter/brother with sensitivity; Margaret Hoffman, who plays Michelle Morris, Effie’s replacement; and Milton Craig Nealy, who plays Marty, James “Thunder” Early’s manager. Nealy was in the original production and also in the 1987 revival. He tells Effie that “the best survive” and after ups and downs, Effie proves him right.

The talent shines in this spectacular production. The ensemble chorus dancers add in the big production numbers. The sets with the projected images and lighting become another entity and stand out, at times, in competition with the fine talent. There are few quiet moments and I relished the stark stage when a humble Effie, wiser by years and tears, has to audition again. She is insecure and alone. This one scene is in contrast to the very splashy scenes and in its very contrast stands out. The music was a little overpowering. I got chills watching Effie build into the confident diva as she sang, “I Am Changing.” Moya Angela definitely has the pipes, and she has that special “it” quality that stars are made of.

This is one musical you will want to see. It is a visual extravaganza with stellar talent from the opening at The Apollo Theatre to the closing number at The Apollo Theatre. My eyes were riveted to the stage. There are few lulls, and that is my only criticism. I would have liked some more subtle scenes rather than many “full out” scenes. But, overall, it is a grand evening of musical theater. I walked out on a high as did the rest of the audience. I was caught up in the rags to riches tale. Sacrifices had to be made to get Black talent their due.

The artists had to leave gospel behind to embrace R&B. “Get out of soul and cross over into pop.” This musical chronicles that story and the personal stories of those artists involved. It is quite a journey. Dare to dream because, yes, dreams do come true in this incarnation of “Dreamgirls.”

“Dreamgirls” plays at the Ahmanson Theatre, 135 N. Grand Ave., Los Angeles, through April 4. (213) 972-4400.