In 1981, Henry Kreiger and Tom Eyen wrote Dreamgirls, a musical loosely based on the story of the Supremes and the founding of Motown Records. This revolutionary production went on to be nominated for 13 Tony Awards and win six. Twenty-five years later, the movie version starring Beyoncé Knowles, Jennifer Hudson, Eddie Murphy and Jamie Foxx won two Oscars, three Golden Globes, two SAGs and a Grammy. That's a lot of pressure.Now, with a new national touring production recently mounted after an engagement at New York City's Apollo Theater, the show has some big shoes to fill. This production is an interesting combination of the original Broadway production and the movie, adding the songs written for the film to the script.

The show follows three female vocalists known as the Dreams in the midst of the Motown revolution. They sign a contract with Jimmy Early (loosely based on James Brown) and soon their careers begin to rise. When the television era is born, however, Effie White, the heaviest member of the group, is replaced. She goes solo and battles her old group to top the Billboard charts in an ever-changing world of music.

With a stellar cast, cutting-edge technical elements and the combination of an onstage and pit orchestra, this production is unlike any of its predecessors. Each character in the show stands out as much as the portrayal before it. After Jennifer Holliday's original stage performance as Effie White and Jennifer Hudson's award-winning on-screen portrayal, I must admit, I was skeptical to see how this new production approached the character. When the end of Act One came, however, and Moya Angela belted the award-winning song "And I Am Telling You," all doubt was forgotten. For as great as she was in this number, she truly shone in Act Two's "I Am Changing." She tore down the house with her powerful vocals and snappy attitude.

Her sassy performance is only outdone by that of Chester Gregory, who put Eddie Murphy's Oscar-nominated performance of Jimmy Early to shame. His comedic timing was impeccable and his astounding movements are reminiscent of James Brown and perhaps even a young Michael Jackson.

Additional noteworthy performances are American Idol's Syesha Mercado (Deena Jones), who gives Beyoncé a run for her money, and Trevon Davis (C.C. White).

This production would not be half as impressive, however, if it were not for the astonishing technical elements. Kudos to Scenic Designer Robin Wagner for revamping his original 1981 design and finding the brilliance in absence of set, going so far as to make all furniture transparent. His five-paneled grid-like LED screens set the mood for every sequence in the show, along with the helping hand of media designer Howard Werner. The icing on the cake in this technical extravaganza seems to be Ken Billington's lighting design, composed of over 300 lights, finely tuned to create mood and, in some instances, setting.

It is also impressive to watch the combination of pit and onstage orchestras help the show come to life. The use of the onstage band allows opportunities to create such settings as a recording studio or even as simple a place as a night club. This also creates the perfect opportunity for co-choreographers Shane Sparks (So You Think You Can Dance and America's Best Dance Crew) and Galen Hooks to have ensemble members blend with the band as dancing instruments, a key feature sure to leave any jaw on the floor.

The acting is excellent, the singing astounding, the set and lighting revolutionary and musical elements perfected. However, it is when these elements are all combined that they create an extraordinary performance that transports the audience throughout the decades of Motown history. With only one week left to see this stellar revival, buy your tickets, stand in line for student rush and do whatever you can to see one of the finest musical spectaculars to hit Boston in a while.