by Eric Denver

Bethesda Little Theatre (BLT) certainly pulled out all the colors of the rainbow for their latest show on the first two weekends of June 2025.  If you missed seeing HUES IN HARMONY: A MUSICAL SPECTRUM, you’re out of luck, but if you were one of many who were in their seats at one of the six presentations, you experienced an award-winning extravaganza.  

This special “gem” of a theater has been around as a part of Bethesda’s not-for-profit theater community since 1980. BLT’s mission is to promote the Arts of drama, dance, singing music and speech.  Their mission statement also includes verbiage which touches my heart.  Its purpose is to develop public appreciation for these arts through performance and other activities.  In my opinion, they certainly achieved their objectives with this production. 

Most important, a spectator reading the Director Laura Holmes’ notes within the playbill, should read her one-pager before seeing the show – – – I haven’t changed a word from the playbill.  Laura writes “that you are about to explore the emotional language of color – how a single hue can shape a song’s meaning and music can, in turn, color our memories.  The show’s 27 numbers are like brushstrokes on a vibrant canvas: the blues of longing, the greens of nostalgia and discovery, the yellows of reflection and breaking free, and the reds of romance and desires.  All together they paint a picture of the human experience- layered heartfelt and full of surprises.”  Laura goes on to detail the wealth of opportunities, in putting together this masterpiece.  Her biggest challenge, I presume, as to how to limit it to two acts.  She states in the Director’s notes that “she could have created four acts with the wealth of opportunities she had to choose from.”

Most of the individual members in the show contained a color starting out with a Rainbow Medley to open the production.  We then progress through the colors of red, orange, yellow, green, blue, indigo, and violet and that was just Act I.  Then, Act II continues with “Live in Living Color” (referring of course to the NBC Peacock) and continues with brown, black, gold, white and commences with “Over the Rainbow” from of course the Wizard of Oz!  Each of the 27 songs were performed by one, two or even more members of the cast and included choreography, which was added to some of the individual selections.  The director incorporated verticality in the production by having the cast perform on different height levels of the stage’s planks.  There was a 3-piece band including a multi-purpose keyboard, bass guitar, and drums.  To retain the audience’s attention throughout the play, even the cast at times were musically participating through their utilization of their personal playing of the saxophone, guitar, and violin accompanied with appropriate dancing styles including country, pop, jazz, Broadway, and movie music.  There was definitely no doze-off time for the audience…there was so much entertainment to appreciate throughout the production.  

It should be noted, there were 18 actors in the show.  To put any emphasis on any of them individually, as most reviews might do, could not be accomplished.  Together the cast was supercalifragilisticexpialidocious.  With the director’s help, they provided a memorable experience.  The order of the show’s songs were selected by both the Director and Music Director (Francine Krasowska).  The music was selected across the bandwidth from the 1920’s Bye-Bye Blackbird, moving through the years to a song by Barbara Streisand from “My Coloring Book.”  Traveling through the Hues in Harmony, the audience may have imagined that they were walking down the yellow brick road during the entire two-act performance.  To encapsulate this entire review, I quote a sentence from the Director’s notes…”COLOR is a power which directly influences the soul.  I believe this show taps into that power…not only with sound and shade, but with laughter, storytelling, movement and heart!”

If you unfortunately missed the opportunity to experience this performance piece of art, maybe you can convince the Kennedy Center to produce it for at least a month! No doubt, it will be impossible to get tickets.

Interview with the Director

Sharen Camille has directed dozens of musicals ranging from The Secret Garden, The Music Man, Seussical, Guys and Dolls and many others. Recently, she traveled the national film festival circuit with her award-winning documentary Alice in Covidland about a local ballet company. Sharen is perhaps best known as an actor for her portrayal of Maria in West Side Story in the National and European Tours, and her Off-Broadway turn in NY in The Fantasticks as The Girl. Her versatility led to successful performances in Opera, Musical Theatre, Film and TV She is a proud graduate of the Musical Theatre program from the University of Michigan and a member of the actor’s unions SAG/AFTRA and AEA. She enjoys being creative any way she can as a director, voice teacher, actor, filmmaker and editor, or hosting the podcast Six Degrees of Broadway. She is the Artistic Director of Footlight Players and the founder of the Camille Coloratura Awards. www.SharenCamille.com

Meet the Cast!

This is Maureen Freshour’s second show with Bethesda Little Theatre! After closing a thrilling Bacharach Makes the Music Cabaret with Bethesda Little Theatre, she dove right into Got It Good! Maureen recently appeared locally as the Balladeer in Sondheim’s Assassins and the Narrator in Abdication. Her Motto: “Create Some Thing Every Day!”

Jenny Gleason is proud to make her Bethesda Little Theatre debut! You may recognize her from the many roles she has played with Rockville Musical Theatre and Silver Spring Stage.

Arthur Glover has been performing with Bethesda Little Theatre since 2016. He’s even directed his own show and co-directed a holiday show or two. He currently serves on the BLT Board of Directors as the Treasurer and assists on the marketing team. This is Arthur’s first cabaret and he’s looking forward to showcasing his songs and being the best back-up singer to this fine group of professionals. Arthur is supported by his wonderful wife of 45 years, Carole Glover.

Having been away from theater for a few years, Beatrice Ieronimo is very excited to be back and joining the cast of Got it Good! She loves to sing and when not singing likes to spend time writing and sketching.

Stephanie Levin is not only making her Bethesda Little Theatre debut but also her debut into DMV community theatre. In fact, this will be her first community theatre production since seventh grade. 

John Christopher Lynch is making his Bethesda Little Theatre debut! He has performed with the Theatre Lab, Silver Spring Stage, Greenbelt Arts Center, and Montgomery Playhouse. He is excited to play the kind of role he hasn’t played in a while and bring Charlie to life.

Audrey Mollo is ecstatic to be sharing this show with you everyone! This is her first show after high school, and she is so happy to be doing it with these other incredible actors. Even if it is her first since high school, she is no stranger to the local community theatre scene. You may have caught her with The Vienna Youth Players or Stagecoach Theatre.

Joshua Pinchback is a senior in high school, and he’s super excited to be doing his first original production. He has been acting for about 8 years and is having a great time!

This is Amanda Jasmine Rollins’ second show with Bethesda Little Theatre! One of Amanda’s proudest moments was playing Ms. Pennywise in a college production of Urinetown. She has performed in productions from Japan to Los Angeles and back to Bethesda!

Caroline Smith DeWaal, while new to Bethesda Little Theatre, is not new to theatre. Having performed a variety of roles, she is excited to see this original production come to life!

Charlie Tell is appearing in her first show with Bethesda Little Theatre. While she has done her share of theatre productions she also loves voice acting and can be heard as ‘Stardust’ in the animated series Shattered Stars on YouTube!

January 10-11, 2025

Director’s Note

Burt Bacharach’s music tends to speak to the heart. In this cabaret we hope to ignite some old memories while creating new ones. In developing this cabaret I have discovered songs of his I have never heard and fallen in love with many of them. Contrasting to our first cabaret in this series last October, Burt Bacharach is not fictional like James Bond and does not conjure up images of intrigue and adventure. This time we hope he conjures up images that connect you to his music.

Tonight you will experience the music of Bacharach through this diverse selection of his music and the atmosphere we have tried to create for you. As Bacharach is quoted as saying, “Never be ashamed to write a melody that people remember.” Tonight we hope you will remember many melodies and maybe join us in singing one of them.

We are so grateful to have you at our second club-style cabaret, and hope to see you in the future at other cabarets and at our 2025 productions.  Enjoy the show!

Cathy McCoskey

Biographies

Jen Biddison placed first in her category during the 2024 National Association of Teachers of Singing Mid-Atlantic Region Student Auditions. She enjoys performing sacred, musical theatre, and patriotic songs for churches and community events. You can find her on Facebook, YouTube and Instagram at @JenBiddison. She would like to thank God, her family, Cathy, Jeff & BLT for this opportunity.

Maureen Freshour is so excited to be making her debut with Bethesda Little Theatre!  Maureen recently appeared locally as the Balladeer in Sondheim’s Assassins and the Narrator in Abdication. Memorable other shows include: Pump Boys & Dinettes, Nunsense, Grease, Secret Garden, and Damn Yankees. Being a pastor, singer/songwriter, jingle writer, fitness instructor/choreographer, and being a former drama teacher/director have driven her lifelong search for creative outlets. Longwood University (1979 Theater/English) prepared her, life honed her. Motto: “Create Some Thing Every Day!” 

Arthur Glover has been performing with Bethesda Little Theatre since 2016. He’s even directed his own show and co-directed a holiday show or two. He currently serves on the BLT Board of Directors as the Treasurer and assists on the marketing team. This is Arthur’s first cabaret and he’s looking forward to showcasing his songs and being the best back-up singer to this fine group of professionals. Arthur is supported by his wonderful wife of 45 years, Carole Glover. Thank you, Cathy and Jeff, for choosing great songs for me.

Jay Gutzwiller is thrilled to participate in his first show with BLT. He began performing in school and community theater productions during high school and college in Cincinnati, Ohio. More recently he has enjoyed singing with the folk band at his church in Silver Spring, and jamming out to classic and Latin rock with his good friends. During the day, Jay works for an international nonprofit managing development and humanitarian assistance programs overseas. He’s had a blast getting to know this talented cast, and he is grateful for his family’s support over the past few months.

Jeffrey Hayes is a solo pianist and accompanist in the Washington DC area since 1980. 
Highlights are: Census Chorale (1981 – 2013); Naval Research Lab’s Showboaters (Once Upon a Matttress); Corkran Players (six Gilbert and Sullivan operas); Ruby Glitz Trio (best selling cassette “Live”, international conventions in Cleveland and Chicago); Duo Classico (concerts at Decatur House and with New York Philharmonic violinist Gabriel Banat at Christ Church Alexandria); international song stylist Louise de Simone (CD…feeling fancy free); Bethesda Little Theatre (musical revues 2012 – 2022 and Bond to Bacharach cabaret series); Sapphires (seven themed cabarets); Mini-Musicals on the Move (West Side Story, Oklahoma, Guys and Dolls, Mary Poppins,The Music Man, six cabarets); hotel lounges (ANA, Monarch, Fairmont, Park Hyatt, three Ritz-Carltons); private parties, anniversaries, and weddings (too many to count).  He was honored as the Black Tie Arts Management’s Artist of the Year (1997). He developed, wrote, and is currently presenting an autobiographical cabaret “Once Upon a Time on Washington’s Finest Pianos.”

Laura Holmes, a seasoned member of BLT since 1994, has directed nine shows and performed in 15 BLT revues. In addition to her theatrical endeavors, she lends her voice to the harmonies of The Sapphires singing group, performing across the DMV area. During the day, Laura works at a non-profit organization, blending her passion for the arts with community service.

David Kimmelman, since relocating to the DMV area almost 8 years ago, has portrayed Colonel Jessup in “A Few Good Men” at LTA, Mr. Dussell in “Diary of Anne Frank” at RLT, and Isaac in “Disgraced” in Greenbelt. A 1981 graduate of the American Academy of Dramatic Arts in NYC, he has appeared on Days of our Lives, and has performed in over 60 plays and musicals nationally since he was 8 years old. Some favorite roles include: Russ/Dan in “Clybourne Park”, Tevye in “Fiddler on the Roof”, McMurphy in “One Flew Over the Cuckoos Nest”, Mathias in “My Old Lady”, and multiple roles in “The Laramie Project”. David thanks his wife Nina, his daughters, and his entire family for their love and support. 

Cathy McCoskey is thrilled to be directing her fourth show for BLT. She has performed in thirteen productions with them. When not performing with BLT she is busy as their marketing director, performing and directing with Mini-Musicals on the Move, and performing with the Sapphires. She also enjoys performing with other local community theatres when the opportunity arises. She can often be spotted at a local preschool with energetic preschool children! In her spare time she enjoys rare evenings at home with her husband, walks with friends, and traveling with her husband and two grown children.

Carolyn Oxenford sang mostly in the shower until her kids left home, and she decided to try singing in public. Since then, she has performed with Levine Music Theatre, Bethesda Little Theatre, Mini-Musicals on the Move, the St. Andrew’s Players, and Senza Nome Women’s Chorus. Currently, she can often be heard singing classic musical theatre tunes at senior facilities around the DMV, and jazz with Capital City Voices. She is excited to be back in a BLT show after several years away.

The Soul of Broadway celebrates the music of Broadway that speaks to your heart and pulls at your emotions with a healthy dose of the rhythm and style of soul music. Our journey takes us from Broadway classics like Porgy and Bess to modern adaptations of the lives of legendary popstars like Tina Turner.  Here we sample a smorgasbord of musical genres—show tunes, pop and rap, jazz and folk. Of course, our selections are only the tip of the iceberg. If you would like to know more about our selections and their sources, we present a short guide for your information. The guide follows the order of the selections in our program.

On Broadway, written by Barry Mann and Cynthia Weill, in collaboration with Jerry Leiber and Mike Stoller.

The song was originally recorded by the Cookies—an R&B girl group—but was later revised for the Drifters. Their better-known version, with a rock-oriented groove and a more bluesy feel than the original, was a hit, reaching No. 9 on the Billboard Hot 100 in 1963. George Benson’s version, from his 1978 album Weekend in L.A., rose to No. 7 on The Billboard Hot 100 and No. 2 on the soul chart. The song was featured in the musical revue, Smokey Joe’s Café (1995), and highlighted in the Carole King musical, Beautiful (2013).

It Ain’t Necessarily So, composed by George Gershwin, lyrics by Ira Gershwin.

The opera, Porgy and Bess, from which this song is taken, was first performed in Boston on September 30, 1935, and then moved on to Broadway. It featured a cast of classically trained African American singers—a daring artistic choice at the time. George Gershwin chose John W. Sublett (Bubbles), an American tap dancer, vaudevillian, movie actor, and television performer. to create the role of Sportin’ Life. Since Sublett was unable to read music, Gershwin taught it to him as a tap rhythm. Sublett performed the role occasionally for the next two decades.

Summertime, composed by George Gershwin, lyrics by DuBose Heyward and Ira Gershwin.

Probably the best-known song from Porgy and Bess, “Summertime” is a popular and much recorded jazz standard. The song is sung several times throughout the opera, and its lyrics are the first words heard in Act I, where it is sung by Clara as a lullaby. The song was recorded for the first time by the original Clara, Abbey Mitchell Cook, on July 19, 1935, with George Gershwin playing the piano and conducting the orchestra.

Sittin’ on the Dock of the Bay, written by Otis Redding and Steve Cropper.

Redding started writing the lyrics in August 1967, while sitting in a rented houseboat in Sausalito, California. Redding recorded it twice in 1967, including once just three days before his death in a plane crash. The song was released on the Volt label in 1968, becoming the first ever posthumous single to top the charts in the U.S.

Ol’ Man River, composed by Jerome Kern, lyrics by Oscar Hammerstein II.

The most famous song from the 1927 musical Show Boat, “Ol’ Man River” is sung by Joe, a black stevedore on a showboat. The original Joe was played by Jules Bledsoe, but the most famous rendition of it was sung by Paul Robeson in the classic 1936 film version of the show.

A Million Dreams, written by Benj Pasek and Justin Paul.

This song debuted in the 2017 American film, The Greatest Showman, based on the story of P.T. Barnum, a famous showman and entertainer and creator of the Barnum & Bailey Circus. The number is performed by Ziv Zaifman, Hugh Jackman, and Michelle Williams in the original soundtrack, and has been covered by several artists.

Found/Tonight, arrangement by Alex Lacamoire

Released as a single, this mash-up of two songs from Hamilton: An American Musical (written by Lin-Manuel Miranda) —“The Story of Tonight”–and Dear Evan Hansen (written by Benj Pasek and Justin Paul) —“You Will Be Found”–was recorded by Miranda and Ben Platt, who originated the role of Evan Hansen, in an arrangement by Alex Lacamoire. It was released on March 19, 2018. Miranda and Blatt performed the song at the student-led demonstration, March for Our Lives, in support of gun control legislation, which took place in Washington, DC, on March 24, 2018. The proceeds from sales of this single were partially donated to the anti-gun violence movement.

Impossible Dream, composed by Mitch Leigh, lyrics by Joe Darion.

Probably the most popular song from the Tony-winning 1965 Broadway musical, Man of La Mancha, “Impossible Dream (or the Quest)” has attracted many vocal artists from both the pop and opera world, including Jack Jones, The Temptations, Shirley Bassey, Jose Carreras, Jacques Brel, Aretha Franklin, and Josh Groban. Composer Mitch Leigh received the Contemporary Classics Award from the Songwriter’s Hall of Fame for the song.

Dreamgirls, composed by Henry Krieger, lyrics by Tom Eyen.

This song is from the 1981 Broadway musical of the same name and is based on the show business aspirations of R&B acts, such as the Shirelles, James Brown, and Jackie Wilson, but closely mirrors the story of The Supremes.  “The “Dreams,” as the trio is called in the musical, make their club debut singing “Dreamgirls,” their first single. Dreamgirls won the Tony award and the Drama Desk Award for best book of a musical.

Man in the Mirror, written by Glen Ballard and Siedah, and produced by Michael Jackson and Quincy Jones.

This song was released on February 6, 1988, as the fourth single from Jackson’s seventh solo album, “Bad.” “Man in the Mirror” topped the Billboard Hot 100 for two weeks and was nominated for Record of the Year at the 31^st Grammy Awards. Keeping the gospel choir arrangement, the song was remixed for the soundtrack of Jackson’s tribute tour, “Immortal.”

Make Them Hear You, composed by Steven Flaherty, lyrics by Lynn Ahrens.

This song is from the 1998 Broadway musical, Ragtime, based on the book of the same name by E.L. Doctorow. Set in the early 20^th century, Ragtime follows three groups: African Americans, white upper-class suburbanites, and Jewish immigrants from Eastern Europe. “Make Them Hear You,” which is sung by Coalhouse Walker, Jr., a Harlem musician, is a plea for non-violence. The Broadway production won the Tony for best book of a musical and best original score.

Listen, written by Henry Krieger, Beyoncé Knowles, and others.

“Listen” was written for the 2006 film version of Dreamgirls, in which Beyoncé’s character sings the song in an expression of independence from her controlling husband. Columbia Records released “Listen” as the lead single from the soundtrack album of the movie on January 19, 2007.

Hardcore Poetry, written by Dennis Lambert and Brian Potter.

This song is from the second studio album of the same name by the American soul/R&B group, Tavares, released in 1974 on the Capitol label. It is a semi-sweet tribute to the rougher neighborhood of the city.

One Song Glory/Glory, arranged by Leslie Blaha

Jonathan Larson’s 1996 musical, Rent, is loosely based on Puccini’s opera La Bohéme. The story traces the ups and downs of struggling young artists living in New York in the 1980s. “One Song Glory” is sung by a singer-songwriter who has contracted AIDS and dreams of having a hit song as a legacy. Rent ran on Broadway for 12 years, winning many awards.

“Glory” is featured as the theme song in Selma, a 2014 historical film drama directed by Ava DuVernay, based on the 1965 Selma to Montgomery voting rights marches. The film was nominated for several awards, and the song “Glory,” written by Common (Lonnie Rashid Lynn) and John Legend, won the Academy Award and the Golden Globe Award for best original song.

We Are the World, written by Michael Jackson and Lionel Ritchie.

A charity single released by the supergroup USA for Africa in 1985, “We Are the World” sold more than 20 million copies, becoming the eighth best-selling single of all time. The song is also included the album of the same name. The 20^th anniversary of “We Are the World” was celebrated in 2005. Radio stations around the world paid homage to USA for Africa’s creation by simultaneously broadcasting the charity song. Harry Belafonte commented that the song had “stood the test of time,” and anyone old enough to remember it can still hum along.

Get Ready/Dancing in the Street, arranged by Roger Emerson

A Motown song written by Smokey Robinson, “Get Ready” was written for The Temptations in 1966 and was designed as an answer to the latest dance craze, “The Duck.” The song topped the U.S. R&B singles chart, as did a later version by Rare Earth released in 1970.  One of Motown’s signature songs, “Dancing in the Street” was written by Marvin Gaye, William “Mickey” Stevenson, and Ivy Jo Hunter. The song was recorded by Martha Reeves & The Vandellas in 1964 and reached No. 2 on the Billboard Hot Chart.  This medley was created for the smash Broadway hit Motown: The Musical. 

I Heard It Through the Grapevine, written by Norman Whitfield and Barrett Strong.

Written for Motown Records in 1966 and first recorded by Gladys Knight & the Pips, “I Heard It Through the Grapevine” shortly became the biggest selling Motown single up to that time. The Marvin Gaye version was released as a single in 1968 and overtook the earlier version as the biggest selling single. The Gaye recording has since become an acclaimed soul classic and in 1998 was inducted into the Grammy Hall of Fame. Twenty years later, the Gladys Knight & the Pips version was also inducted into the Grammy Hall of Fame.

The Tracks of My Tears, written by Smokey Robinson, Pete Moore, and Marv Taplin.

A multiple award-winning R&B song, “The Tracks of My Tears” was originally recorded by The Miracles on Motown’s Tamia label in 1965 and is their most honored and most covered song. It has been ranked at, or near the top of many “best of” lists in the music industry over the last 50 years. On May 14, 2008, this version was preserved by the United States Library of Congress to the National Recording Registry as being of cultural, historical, aesthetic significance, and in 2021, Rolling Stone ranked the recording as “The Greatest Motown Song of All Time.”

One Night Only, written by Tom Eyen and Henry Krieger.

Written for the 1981 Broadway musical Dreamgirls, “One Night Only” was one of the first songs to be written for the play. In the show, it is performed twice in succession—a soul ballad by the character Effie White (Jennifer Holliday) and a dance version by Deena Jones & the Dreams (Sheryl Lee Ralph, Loretta Devine, and Deborah Burrell). Both versions appear as one track on the original 1982 Broadway cast album.

Just My Imagination (Running Away with Me), written by Norman Whitfield and Barrett Strong.

Released on the Motown label in 1971, “Just My Imagination” became the third Temptations song to reach number one on the US Billboard Hot 100. Today, this single is considered one the Temptations’ signature songs and is notable for recalling the sound of the group’s 1960s recordings. It is also the final single to feature founding members Eddie Kendricks and Paul Williams.

Proud Mary, written by John Fogerty.

Written for the Creedence Clearwater Revival and released as a single in 1969 and on the band’s second album “Born on the Bayou, “Proud Mary” became a major hit in the United States, peaking at No. 2 on the US Billboard Hot 100 in March 1969. A cover version by Ike and Tina Turner, released in 1971, did nearly as well, reaching No. 4 on the US Billboard Hot 100 and winning a Grammy Award.

Ease on Down the Road, written by Charlie Smalls.

Originally from the 1975 Broadway musical, The Wiz, “Ease on Down the Road” is performed three times in the show by Dorothy and her friends–the Scarecrow, the Tin Man, and the Cowardly Lion–as they dance down the Yellow Brick Road. Two versions of the song were released as singles: one associated with the Broadway show by Consumer Rapport in 1975; and a second recorded by Diana Ross and Michael Jackson for the feature film adaptation of The Wiz in 1978.

Home, written by Charlie Smalls

Also from The Wiz, “Home” was performed by Stephanie Mills in the stage production and by Diana Ross in the 1978 film adaptation, which was released on the soundtrack album.

What About Love, words and music by Brenda Russell, Allee Willis, and Steven Bray.

The Color Purple, which opened in 2005, recounts the journey of Celie, an African American woman in the American South from the early to the mid-20th century. The musical, based on the 1982 novel by Alice Walker and the 1985 film adaptation, was revived in 2015, winning two Tony Awards, including Best Revival of a Musical. “What About Love” is a duet between Celie and the jazz singer Shug Avery.

Lean on Me, written by Bill Withers.

Withers, an American singer and songwriter, had several hits over a career spanning eighteen years. “Lean on Me,” written in 1972, won the Grammy Award for Best Rhythm & Blues song in 1987. Withers wrote the song, he said, after moving from his small West Virginia town to Los Angeles, when he was missing the supportive community he left behind.

All in Love Is Fair, written by Stevie Wonder.

Stevie Wonder included this song in his sixteenth studio album, Innervisions, in 1973.  Barbra Streisand released “All in Love Is Fair” as a single in 1974 for her fifteenth studio album, The Way We Were. Several other artists, including Nancy Wilson and Cleo Laine, have recorded the song.

Seasons of Love, written by Jonathan Larsen.

This song, from the 1996 Broadway musical, Rent, is performed by the entire cast in the musical and in the 2005 film adaptation. The lyrics ask: what is the proper way to quantify the value of a year in human life. Since several of the characters have either HIV or AIDS, the song is often associated with World AIDS Day and AIDS awareness month.

You Can’t Stop the Beat, written by Marc Shaiman and Scott Wittman.

The big closing number to the 2002 musical, Hairspray, was not in the original 1988 movie, written and directed by John Waters, which dealt with racial segregation and “sizeism.” It was added, along with other original songs to the 2002 production.  The song pays tribute to “River Deep, Mountain High,” the 1966 hit by Ike and Tina Turner.

Get Inside “The Soul of Broadway!”

Posted onJust now by blt2015

Bethesda Little Theatre presents an original musical revue featuring songs that represent the soul of Broadway. Explore the emotion, heart, and rhythm of Broadway through songs from The Wiz, Smokey Joe’s Cafe, RENT, and more! Don’t miss your chance to laugh, cry, and dance to songs by Michael Jackson, the Temptations, and Tina Turner. The Soul of Broadway, runs June 9, 10, and 11 at the Montgomery College Cultural Arts Center. (For tickets and more information click here: blt-online.org or call 202-796-3431.)

In our blog series “Inside the Numbers” we take you backstage with the performers to discuss a sampling of the songs they’ll be presenting; today we’re going to explore the title song from “Dreamgirls,” focusing on the fictional Motown group the Dreams— famously inspired by the Supremes.

Have you seen the movie or the musical? What did you think of the story/music?

CAROLYN: I have seen the movie. I absolutely loved it. I sang it so much when I was younger on repeat. I particularly love “stepping to the bad side” very soulful and fast paced. The story is quite captivating particularly seeing how African American music was being stolen by Caucasian people and the impact that it had on groups trying to make it in the music business

BRETT: I saw the movie a long time ago. The music is incredible and really captures the feel of the Supremes! I wish I could have seen Jennifer Holiday and Sheryl Lee Ralph in the original Broadway cast.

KARAM: I have seen the movie many times and thought it was amazingly well done. I thought it was such a sad story for Effie White, the main character, but the music/singing/dancing was incredible.

Dreamgirls highlights the cost of ambition within an industry in which race and gender shape opportunities and expectations for artists, producers, and consumers. How does this resonate with your life experiences?

BRETT: I’m lucky to live with a lot of privilege but have faced sexism in my life. It can be frustrating and infuriating.

CAROLYN: I do feel to be a musical theatre artist you have to work extremely hard. There is a lot of competition which is definitely shown in the story of Dreamgirls. it is difficult to face rejection whether it be you simply weren’t a fit for the show or your skills weren’t up to snuff in the directors opinion. You just have to get on up and try again, rehone your craft. It is fantastic that musical theatre is becoming more open to all people and we are hearing more interesting stories and perspectives because of it.

What dream would you like to come true, for yourself or others?

BRETT: My dream is for us all to offer one another compassion and understanding. You never know what another person may be facing in their life. 

KARAM: A dream of mine is to live in a world in which pursuing singing and dancing and JOY is more viable for more people!

CAROLYN: My dream is for all people to have the opportunity to pursue their dreams. My personal dream is to share my voice and creativity throughout my life as it gives joy to myself, others, and most importantly, it tells a story.