Victor/Victoria

What a great movie! I enjoyed the made for the movies version, but this one, a taped Broadway show, is even better. Julie is spectacular - she shows off that incredible voice, dances wonderfully, and becomes her character so you believe what she's feeling. The rest of the cast is wonderful as well, particularly the adorable Tony Roberts as Toddy. Tony is hilarious and owns that character to a tee. I loved Michael Nouri as King Marchand - he's a very handsome man with a very nice singing voice. Finally, Rachel York as Norma Cassidy is delightfully wicked and funny with her "bleached blonde road scholar" grammar mistakes ("Out of my way, pheasant!" "You think, you worry, worry, think... before you know it, you are impudent!")

The entire show is put together excellently with beautiful costumes and sets and a terrific display of talent. A must-see!

Victor/Victoria seemed to be a cursed project from it's inception for Broadway. First of all Henry Mancini died before ever having seen his work go to the boards. Then during the run Billy Byers, it's orchestrater, died on his birthday in 1996 and for it's grand finale, this curse ended the vocal career of it's star, Julie Andrews.

One wonders why there was such problems.....Maybe it started back with the original Viktor und Viktoria, the original German version, when it's star Renate Muller hung herself in a Berlin sanitorium on Julie's 8th birthday, 1943.

It seems such a shame that such a dark shadow marrs such a lovely work. The show it's self is quite enjoyable considering all it's problems.

The story is of circumstances that make it possible for a singer (Julie Andrews) to pretend to be a man pretending to be a woman.

"~ Oh, what a tangled web we weave, when first we practice to deceive ~ "Sir Walter Scott

Right off, I must say I miss Robert Preston. Naturally, this is a play and not the movie so there must be some allowances. Unfortunately, the play mangles the story more than necessary. Also, the actors have no charisma or pizzaz. The vocal ranges including Julie's are pitiful. The characters and actors just do not mess. The original story was placed in Berlin Viktor und Viktoria (1933).

When Blake Edwards moved it to Paris, he added his signature slapstick distraction. They had an opportunity to remove it for the play. Instead, they just added more "Keystone Cop" type slapstick. The few new songs barely replace the classics from the movie.

There is now a Kino Classics Victor and Victoria (Blu-ray) (1933). Renate Müller (Actor), Hermann Thimig (Actor)

This video of the stage production of "Victor/Victoria" preserves what is likely to be the last Broadway performance of a living legend of the musical theater - Julie Andrews. Complications from vocal chord surgery performed not long after Dame Andrews left this production damaged her singing voice, probably permanently. The opportunity to see her in this historic Broadway performance should therefore not be missed by any of her fans.

The show isn't perfect. It gets off to a bit of a slow start with a moody opening number, "Paris By Night," then it takes a while for the story to unfold. There is a bit more exposition than is necessary, and the show really doesn't get into full swing until Julie and company's notable "Le Jazz Hot." From that point on, however, "Victor/Victoria" accelerates, and the laughs come quickly and often.

The energy boost is thanks in large part to the comic genius of Drama Desk Award Winner Rachel York as the dizzy blond gangster moll, Norma Cassidy. She takes the Oscar-winning role created in the 1982 movie version by Lesley Ann Warren and makes it her own. She finds the vulnerable core underneath the crass exterior and turns Norma into a lovable lunatic. Her timing is perfection, and the unexpected little twists in her delivery and physicality delight at every turn. She almost steals the show, but not quite. What she does accomplish, however, is to give Ms. Andrews a venerable foil. When the two of them are onstage together, the chemistry is electric. They have a tango toward the end of the first act that is one of the funniest pieces of choreography ever staged.

All the dance numbers are stellar, in fact. Credit goes to Rob Marshall, who has now become famous for his direction of the Academy Award winning movie adaptation of "Chicago." Every bit of choreography sizzles as the audience watches and wonders just which dancers are men and which are women.

While Michael Nouri as Victor/Victoria's love interest, King Marchan, may be considered the weak link in this cast (he just doesn't have the befuddled charisma that James Garner had in the movie), he sings and acts well enough to carry his share of the load. Tony Roberts is wonderfully droll as Victor's gay mentor, Toddy, and Greg Jbara is quite likeable as King's bodyguard, Squash. He offers up more than one surprise during the course of the evening.

By the time the last laugh is had, the audience is on its feet cheering for a landmark performance by one of the musical theater's all time greats. This reviewer has to agree with Ms. Andrews' own comments about Victor/Victoria. The entire show, and in particular cast member Rachel York, were egregiously overlooked by the Tony's.

Devotees of musical theatre history in general and Julie Andrews in particular will appreciate this complete filming of Andrew's "final" vocal role in 1995's "Victor/Victoria."

Here is an opportunity to see one of the world's most talented best loved performers in what may well be her last singing performance in a theatrical role. Vocal problems incurred during the run of this Broadway production ended a fabulous career for this legendary musical comedy artist.

Recreating a role done thirteen years earlier on film-- both written and directed by Andrew's husband, Blake Edwards--Andrews excels in the part through her sheer "star power." While one may be aware of clever "cover-up techniques" to mask or relieve her vocal instrument, one never tires of the indomitable Andrews spunk and spirit as she sails through this challengingly campy role to great success.

Several cameras are employed to provide movement and variety in the filming of this production before a live audience. Still, the limitations are built into the enterprise from the start, and this "Victor/Victoria" becomes more of a connoisseur's than general public's treasure.

Andrews fans and other special interest viewers will greatly appreciate this opportunity to see and own this now historic performance and theatre piece perserved on video for library and private collectors' archives.