By Lubna Abdel-Aziz If "kiss kiss bang bang" adequately describes the appeal of all film, according to renowned New York Times critic Pauline Kael (1919-2001), then "sing sing dance dance" should be adequate description for the appeal of all musicals -- and the zenith of all musicals is Broadway. All artists in drama, comedy, or musical, have initially one dream -- Broadway. "If you can make it there, then you can make it anywhere." While it is the name of only one street, Broadway has come to mean the whole of the Theatre District in the heart of New York City by Time Square. Of the millions and millions of tourists who visit the Big Apple, Broadway is one of their main destinations. Tickets are not cheap, scarse, and are much sought after, yet the thrill of attending one live Broadway performance is without equal. But alas, it can only be enjoyed by a select few. It is film that has brought the joy of Broadway to all, for film is without boundaries, "a ribbon of dreams." The trip from Broadway to the big screen, has been easy, regular and consistent. The transportation of a successful Broadway play, or most especially a joyful Broadway musical, has allowed millions to enjoy it, generation after generation, worldwide, and has given it a certain immortality that Broadway in all of its glory, could never afford. Would The King and I, My Fair Lady, Camelot, The Sound of Music, Grease, etc etc, have achieved the same popularity and durability without the aid of film? The Musical is a uniquely American art form, born at the close of the 19th century. While its basic American influences were vaudeville, minstrel shows, and burlesque, its major classical elements came from the European musical stage, which included the opera, ballet, and a form of elaborate spectacle called an "extravaganza". Three European-born composers laid the foundation of the American operetta, or musical, at the dawn of the 20th century. Rudolf Freml, Victor Herbert, and Sigmund Romberg. It was not until WWI that the American musical acquired its unique form, mainly due to composer Jerome Kern ( Showboat ). The modern musical era began in 1943 with Oklahoma by Richard Rogers and Oscar Hammerstein II. Not every hit Broadway play or musical, however, becomes a hit movie. In recent years, we have witnessed how amazing Broadway musicals such as Rent (2005), The Producers (2005), and even Phantom of the Opera (2004), have fallen flat on their way to the big screen. In recent memory, only Chicago (2003) was able to hold its own and amass a few Oscars to boot. Now here come those Dreamgirls, chasing after Chicago and promising to give it a run for its money. Dreamgirls came to Broadway in 1981, a thinly disguised story of Motown's successful trio, The Supremes. Beyoncé Knowles portrays the pretty diva of "The Supremes" -- Diana Ross. Anita Noni Rose plays the sexy sweet Lorell, but the biggest surprise of all is reserved for Jennifer Hudson as Effie. Hudson is well known to American idol fans, for being humiliated and voted off the show in 2004, thanks to very wry and dry judge Simon Cowell. Another African-American walked away with the honours -- Fantasia Barrireo. But look who's having the last laugh now? Viewers who were outraged by Jennifer's elimination, as finalist of American Idol, must be thrilled to see her sparkle as Effie White in Dreamgirls. Her performance has won her praise from every corner, and brought her a Golden Globe nomination for Best Supporting Actress, and everybody is screaming "Oscar". Her poignant rendition of the emotional showstopper And I am Telling You, I am Not Going, brought a flood of accolades, among them Newsweek 's "she is going to raise goosebumps across the land," the New York Observer 's -- "5 mellifluous, molto vibrato minutes," and New York Daily News -- "one of the most heartfelt cries of pain ever written for a musical." There is little doubt that "a star is born" named Jennifer Hudson, who literally walks away with the film despite its star-studded cast. Eddie Murphy, as James Thunder Early, by all accounts, gives the best performance of his career. Oscar winner Jamie Foxx (Ray) shines as musical whiz Curtis Taylor, and Danny Glover, a recent guest at the Cairo Film Festival, gives a provocative performance as the sidelined manager. The dazzling Miss Beyoncé, is also a revelation. Named by People magazine as one of the 50 most beautiful people, this 25 year-old singer, songwriter, dancer, once the most sizzling member of Destiny's Child has triumphed splendidly as a "bootylicious" solo artist. She has already appeared in 13 movies, but this is her first performance to be noticed by critics. Writer/director Bill Condon (Oscar nominated for writing Chicago ), shows his understanding and sensitivity for the musical genre. He knows only too well audiences do not take too kindly to actors suddenly bursting into song. As he did in Chicago he knows how to marry song and plot compatibly. He is master in this staggeringly energetic tour de force, vibrant and dynamic, superbly designed, shot, and edited. Just like the three ordinary African-American girls who dream of stardom, we all dream. Whether asleep or awake, we all watch a ribbon of film of our imaginary stories of success, glory, fame, and fortune. We all strive to make our dreams come true, yet "how many of our daydreams would darken into nightmares, if there seemed any danger of their coming true." We are the sum of all our dreams, but we often lose sight of the price we have to pay. And if we had no dreams what would we be? And once our dreams come true where do we go? Are we then content, or do we dream new dreams? Dreaming may help maintain discipline, hard work, and positive energy towards a goal. Perhaps happiness lies in the process of dreaming, which may well be the secret of a successful life. Dreams are true while they last, and do we not live in dreams? Alfred, Lord Tennyson (1809-1892)
