This article first appeared in the St. Louis Beacon, July 16, 2012 - Mashups. Remixes. Unintentionally diverse spaces. The analysis of all of the previous. This, I am addicted to.
That's why I'm intent on seeing every occurrence of the end of Act 1 of “Dreamgirls” starring Jennifer Holliday at the Muny this week.
Not because I'm a musical theater nerd (I am), not because I love the musical “Dreamgirls” (I don't. I cannot tell you how it ends), not because I am a huge Jennifer Holliday fan (I do respect her story and strength, but I could not tell you a song she sings beyond her signature tune from “Dreamgirls”), not because I never miss a show at the Muny (I have yet to go this year).
Artists, I believe, are artists partially because they draw from, treasure, understand and thrive off of moments that transcend. These moments come in many forms and settings, are not always intentional and can be on any scale.
The canvas is not always what is traditionally considered "art." Disaster can transcend (9/11). Victory can transcend (Game 6).
They are the moments in which a room or a team or a nation experiences something extraordinary and for that moment differences fall away. They are moments that stay with you and become a touchstone. They offer the chance, though not the guarantee, that afterward you might just understand the world a little bit differently.
“Dreamgirls” contains one of those transcendent moments in the form of the lead character's Act 1 closing number. And that, the opportunity to watch 11,000 of my fellow St. Louisans watch that number, is what will have me in the center of Forest Park under the starts every night this week.
One big ol mixing bowl of awe and awesome and "Oh, no she didn't?" Yes please, I'll have 7.