Dreamgirls is officially coming back to Broadway next fall. That announcement alone is enough to make theater fans go haywire. But with its primary announcement came a secondary one that gave me pause: producers are planning to hold a nationwide talent search to find their new stars.
“To cast the central trio, ‘The Dreams’, the production is embarking on a worldwide talent search.”
-BroadwayWorld.com
At first glance, this sounds so exciting, and that’s because it is! Dreamgirls is one of the most iconic musicals to ever mount a Broadway stage, making its revival one of the most anticipated events on Broadway. The concept of undiscovered actors being given the chance to step into these roles is a dream. It’s the kind of opportunity that speaks to the show’s theme of unwavering ambition.
But recent history has taught Broadway fans to be more than wary of these open calls. Casting searches like these rarely ever live up to the idea they promise. More often than not, they focus on generating publicity first and a genuine follow-through on casting second.
The most recent example of this? The Search for Dolly. When producers of DOLLY: A True Original Musical launched a nationwide hunt to find performers to play the titular role at different stages of her life, it seemed like an unreal opportunity. Dolly is, after all, one of America’s most beloved figures. She’s a self-made legend who is literally built on authenticity. What better way to honor her living legacy than to cast fresh, undiscovered voices?
But the excitement behind this Dolly Parton-shaped search went stale quickly. Instead of casting a breakout Dolly as advertised, a select few finalists were only offered ensemble roles. Which is still an achievement, yes, but not at all what the search had marketed itself as. For many, the whole campaign felt less like a shot at sincere discovery and more like a calculated publicity stunt. By doing this, the trust the audience once had for this production dissipated entirely. Instead, DOLLY: A True Original Musical was faced with an intense backlash.
Now, not every open call has failed. The recent open call for Heathers: The Musical is an example of how it can not only work but work beautifully. The search generated a myriad of buzz, yes, but it also genuinely resulted in new performers joining the company, like Cade Ostymer and Syd Sider.
The difference between this and DOLLY: A True Original Musical? Heathers: The Musical never promised a fairy-tale discovery of the next leading star. It was exactly what it presented itself as: an open-call audition for a show, with the roles perfectly clear.
Which brings us back to Dreamgirls. If the producers are truly committed to finding and giving a platform to new voices, their nationwide search could be extraordinary. But if it’s just another marketing gimmick, it risks tainting what could be a triumphant return.
It seems like they’re heading in the right direction, though. For starters, it’s not an online submission-based audition. This is a sign that the auditions are more likely about creating opportunities over generating social media buzz.
Additionally, actors across the world will have an opportunity to have their dreams realized. Auditions will be held in-person in New York, Los Angeles, Chicago, Atlanta, Detroit, Miami, London, Toronto, Mexico City, Amsterdam, Rome, and Paris.
There are so many reasons why the Dreamgirls search being done correctly matters so much. Primarily, Dreamgirls is not just another Broadway revival or jukebox musical. It’s a story with real cultural weight and social commentary. It’s a show that handles topics like representation, exploitation, and the cost of chasing recognition.
Casting Effie White, Deena Jones, and Lorrell Robinson (aka “the Dreams”) is not simply about filling a marquee. It’s about honoring the legacy and themes found in the heart of the show. Call me naive, but I think Dreamgirls is going to do this open call thing right and make some dreams come true.