The Western Bureau’s Pat Roxborough-Wright attended the Blue Beat Jazz and Martini bar’s tribute to the Dreamgirls last Thursday. Street Beat asked her about it. Here’s her answer:

Partiality for the definitive tones of sixties soul aside, Alicia Flemmings’ rendition of Jennifer Holliday’s 1981 original Broadway showstopper And I’m telling you I’m not going was easily the best performance of last week’s Dreamgirls tribute at the Blue Beat Jazz and Martini bar on Montego Bay’s Hip Strip.

Cruising easily in the Key of A Major, the big-boned Flemmings, a staple on the local cabaret circuit, brought patrons to their feet with a mellow bellow that reincarnated the intensity and authenticity of the song which immortalised the character of Effie Melody White in Dreamgirls, the African American play that opened on Broadway in December of 1981 and resurfaced as a musical film last year.

Sponsored by Lascelles Wines and Spirits, the evening characterised by song, liquor, choice hors d’oeuvres and diva-inspired fashion, kept the senses busy as Flemmings and her co-performers, Naamah Montique, Topal Crooks and Karie Pierson engaged the audience in alternating sets with a myriad of carefully selected ballads and outfits from the production’s soundtrack and era.

The opening set saw the girls in snug black gowns delivering the disco version of the Dreamgirls hit, One Night Only in the key of B minor.

What followed was a celebration of R&B attitude as resident band, Scotch, backed the artistes in spirited performances of the Supremes’ You Can’t Hurry Love; Aretha Franklin’s Think and Respect and George and Ira Gershin’s Summertime among others.

Montique’s rendition of I Am Changing modulated nicely from B flat drawing excited cheers from an audience that got more than their money’s worth for the evening.

Pierson created an appropriate diversion from the souls theme with cuts from Air Supply, the most memorable of which was I’m All Out Love . His take on I Meant You No Harm/Jimmy’s Rap in the key of B Flat Major earned him respect from both genders.

The great Etta James would have been pleased to hear the petite Topal Crooks’ take on At Last in the key of F Major.

The closing set came to a climactic end with the spirited performers uniting to deliver the production’s title track.

“This is going to trigger a trend all over the cabaret circuit. we did it first of course as we are the innovators,” said an elated Promotions manager, Patrice ‘Jiggi’ Headley at the end of the evening.