Victor/Victoria

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.

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 Victor et Victoria (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)

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.

I had no idea a Broadway version of Victor Victoria existed until I just happened to see it on a shelf at our local video rental store. Having seen the film version in 1982 and being a fan of Julie Andrews, I couldn't wait to get home to view it. Jule Andrews did a remarkable job, tirelessly going through 2 long acts, and at the age of 60! Even her dancing seems improved over the years. I loved her pre-curtain and intermission talks too. I felt I was right there in a front row. At first I thought Tony Roberts would not be as good as Robert Preston in the film version, but he came through with a lovable portrayal of Toddy, the gay drag queen. In the film, Preston did a spoof of Le Jazz Hot near the end that I thought was a bit over the top, in horrible drag and also appeared exhausted. Sadly he died not long after, a great loss. Blake Edwards so improved on this scene by having both Victoria and Toddy appear together in gorgeous gowns. Costumes and scenery were remarkable and the late Henry Mancini music, especially Crazy World, is so memorable and can bring tears to the eyes. All the rest of the cast including some great dancing and choreography have left a marvelous record of this performance. Thanks to them for a wonderful evening of viewing.

When I first heard that Victor/Victoria was going to be made into a B'way musical I was a bit skeptical. Nevertheless, I still had to see this production, and later purchased the DVD (the Play itself is videotaped). In Victor/Victoria Andrews looks and sounds great, this is a role that was made for her. Julie, ever lovely, if a bit long in the tooth, shines, but pretty Rachel York as Norma is AMAZING. I fell in love with her immediately (check her out in Kiss Me Kate) not only can she act, but sings beautifully. Nouri no stranger to the musical stage, himself, does quite well and cuts a dashing figure as King. Although, I was never a fan of Tony Roberts, I was very impressed by him--he was perfect as Toddy, I am now a fan. Although the plot line sticks to the movie, there are many differences, some surprises and updates which is logical given the 13 years since the film. 1982's Victor/Victoria is a nearly perfect film and I think Broadway's Victor/Victoria--the Musical is a great accompaniment. I don't think fans would want to miss this.