Is Broadway Ready for a Transgender Effie?

Who Gets to Be a Dreamgirl? An opinion piece by Princex Aimis 

Broadway recently announced that the iconic musical Dreamgirls will return in the fall of 2026. As someone who grew up in the early 2000s, my first introduction to this story wasn’t the 1981 production—it was the 2006 film starring Beyoncé—my Queen—alongside Jennifer Hudson and Anika Noni Rose. That movie, deeply inspired by the rise of Diana Ross and The Supremes during the 1950s and 60s, was many people’s entry point into the world of the Dreamettes. And while the original Broadway company (Jennifer Holliday, Sheryl Lee Ralph, and Loretta Devine) were told not to portray Diana Ross directly—mostly to avoid legal issues—the parallels were undeniable. So undeniable that it created real-life friction between Diana Ross and Sheryl Lee Ralph (the actress that played Deena Jones).

But 2026 presents Broadway with an opportunity that neither 1981 nor 2006 had: the chance to reimagine Dreamgirls in a way that genuinely reflects the world we live in today. When the revival announced a worldwide talent search for its principal roles, it felt like a signal—this isn’t just another restaging. This is a moment for reinvention.

The 2006 film expanded the world of Dreamgirls by incorporating more in-depth discussions surrounding colorism, exploitation, substance use, and manipulation that weren’t centered in the original stage version. That same spirit of expansion should guide the upcoming revival. If the creative team truly wants this production to stand apart from the Diana Ross narrative, and not simply repeat what we’ve already seen, then it’s time to QUEER some things up! Starting with the role that has always carried the heart of the show: Effie White.

The Casting of Effie White, and why it should be Alex Newell

My top choice for Effie is the incomparable Tony Award-winning super-star Alex Newell, a non-binary performer whose talent and story align beautifully with one of musical theater's most beloved characters.

Many of us first discovered Alex through Ryan Murphy’s Glee, where they played Unique Adams—a gifted, yet misunderstood transgender teenager. From the moment Alex opened their mouth to sing, it was clear that this was a once-in-a-generation talent. What I didn’t know then was that they’d go on to make history—not just as the first Glee alum to win an acting Tony, but also the first non-binary actor ever to win Best Featured Actor in a Musical.

Alex’s journey parallels Effie’s in profound ways. Both are performers whose brilliance was overlooked in favor of someone more palatable to mainstream audiences. On Glee, in Once on This Island, in Chicago, and finally in Shucked, Alex was repeatedly placed in the background behind “safer,” more socially acceptable leads. Effie, too, is pushed aside despite being the vocal powerhouse of her group—because the industry prioritized profit over authenticity.

Alex’s Tony acceptance speech called out this issue: "Broadway, I should not be up here as a queer, nonbinary, fat, Black little baby from Massachusetts. Anyone that thinks that they can't do it, I'm going to look you dead in your face that you can do anything you put your mind to."

Witnessing that win brought tears to my eyes. You can't convince me that Effie White wouldn’t say the exact same thing.

While discussing Effie White, it would be irresponsible not to acknowledge the real woman whose life inspired the character: Florence Ballard. Unfortunately, her story did not end with empowerment or redemption as depicted in the musical. It ended in tragedy, shaped by the profound disrespect, exploitation, and erasure she faced within the entertainment industry. Ballard battled with depression before her untimely death with conditions exacerbated by the very forces Dreamgirls sought to critique through Effie’s narrative. The musical rewrote her reality to give Effie a triumphant return, but Florence never received that justice in real life. If Broadway truly intends to honor the spirit of her story in 2026, then centering a Black trans or gender-expansive performer would be the most impactful evolution of this role.

Beyond talent, the symbolism matters: the most overlooked, disrespected community right now is Black Queer people, and Broadway—an industry that prides itself on being more progressive than mainstream entertainment—should lead the charge in uplifting, casting, and celebrating gender-diverse talent. Some may hesitate at the idea of a Gender-Queer actor leading a role traditionally written for a cisgender woman. But let’s be honest: Alex has played women their entire career. I think a part of the reason for that is because their talent is so limitless that it transcends gender.

If there were ever a perfect moment—and a perfect performer—to usher Effie White into a new era, it would be Alex Newell.

As Christmas is approaching, I am hoping that Broadway will make my wish come true and cast Alex Newell for the role of Effie White.

NEXT: Deena Jones Deserves a Story Arc that ACTUALLY Makes Sense

Now with Deena Jones, my argument here isn’t solely about casting—it’s about rewriting the character in a way that finally gives her some depth.

In the film, Deena’s motivations are vague at best. We are never clearly told why she becomes romantically involved with Curtis, especially considering her loyalty to Effie, who views her as not just a friend, but a sister. In several scenes, Deena expresses discomfort and even disinterest toward men altogether—yet suddenly she’s stealing her best friend’s partner while her best friend is pregnant.

This lack of clarity always puzzled me because I couldn't understand why this narrative gap existed. And frankly, it makes Deena look like an evil villain instead of a fully realized character.

Given the era, it’s not hard to imagine that the writers wanted Deena to be a closeted lesbian but shied away from stating it outright in 2006 because the world wasn't ready for it yet. But today, in 2026, we don’t need to leave anything unsaid. In the spirit of Diana Ross, let Deena show "I'm Coming Out!"

Rewriting Deena as a Black lesbian who is coerced into a relationship with Curtis—her male manager who threatens to expose her sexual orientation—creates a storyline that is more realistic for the 1960s, more compelling, and more aligned with the themes of exploitation already present in the show.

Beyoncé’s iconic ballad Listen, originally written for the film, becomes even more powerful when reframed as Deena’s coming-out moment. A declaration of liberation, and an adamant refusal to be molded into something she’s not: straight. Let Deena sing Listen to Curtis, come out with pride, then turn away and slam the door like Elsa in Frozen (our other Lesbian Queen).

The reunion between Effie and Deena later in the musical becomes far more emotional and rewarding when we understand the weight Deena has been carrying—fear, identity, coercion, isolation—not just glitz, glamour, money and fame. There has to be a real and valid reason why she betrayed her sister, because no man is cute enough to break the sacred (cécred) bond of sisterhood.

I also propose using the Beyoncé solo version of Listen for Deena’s coming-out scene, followed by the 2009 duet as a reprise with Effie. The song was originally written because Deena had no clear storyline; eliminating the solo in favor of only a duet weakens her arc. Combining both provides a better narrative and emotional payoff. The 2016 West End version of Dreamgirls produced different lyrics to Listen than that of the 2009 U.S. tour. I would vote to keep the 2009 lyrics, and make small lyric adjustments to fit the newly developed themes. If my ideas are acknowledged, I will gladly join the writing team for this production.

Continued Queering: The Gays are Essential to this Story

I have two final proposals for this revival:

1. Set the disco version of One Night Only in a gay nightclub. Let the stage explode into full-on Queer nightlife—draggy, diverse, and joyful. Invite audience members onstage as a means to further transform the setting into a dance floor. Form the first ever Queer Soul Train Line.

2. Reimagine C.C. White as a gay man. His storyline has always been underdeveloped. But framing C.C. as gay instantly adds depth and further explains Curtis’ rejection of his songwriting: not just creative disagreement, but homophobia and power dynamics. This reframing clarifies the emotional stakes and strengthens C.C.’s role in the narrative because right now, he barely exists in the fabric of the musical.

Closing Statement: Why This Matters Now

Dreamgirls has always been a story about ambition, identity, exploitation, and survival within an industry that chooses marketability over truth. But a 2026 revival has the chance to do something none of its predecessors could: center the voices, identities, and perspectives that Dreamgirls has historically danced around but never fully embraced.

Casting Alex Newell as Effie White isn’t just innovative—it’s historically and artistically appropriate. Rewriting Deena Jones as a closeted lesbian isn’t radical—it’s clarifying. Reframing C.C. and the world he inhabits through a Queer lens isn’t additive—it’s honest.

If Broadway wants to claim progressiveness, now is the time to prove it. Dreamgirls doesn’t need another restaging. It needs a rebirth.

And if the creative team is courageous enough to embrace the Queer, Black, gender-expansive brilliance of performers like Alex Newell—and bold enough to tell the stories the original versions were afraid to say out loud—then this revival could become more than a musical.

It could be a cultural correction. A reclamation. A reminder that trans people are the true Dreamgirls, because we have the ability to reimagine and create ourselves. 

The final question remains: Is Broadway ready to break the binary?

We'll have to wait and see.

Author’s Note: This op-ed was written and developed by Princex Aimis. All ideas, interpretations, and original arguments presented here are the intellectual property of the author. © 2025. Reproduction or redistribution without permission is prohibited.