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.

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!

I generally agree with the commenter who left a comment titled "TRAVESTY", with the exception of their final few sentences.

The hotel spy-caper farce was idiotic and insulting, but the role of Toddy was cast well.

A filmed stage play or musical can be a wonderful thing. But this one failed before the cameras ever arrived, because it wasn't a good stage experience to begin with.

Similar to the 1933 film, nobody was ever going to mistake this Victoria for a man or boy. They should have found an actor who actually could pass for either sex. Breast-binding probably isn't possible if you're supposed to belt out songs, but that doesn't mean you give up and cast Dolly Parton.

I did like the plot tweaks of the stage version, compared to the 1982 film. Things seemed to be clearer, with a positive message that must have been thrilling for some in the audience. But at the same time, so much was wasted on pointless dance numbers, and songs about nothing. Then instead of acting a scene, too much exposition had to be sung as if reading from a book.

Don't waste you time. Watch the 1982 film.

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.

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.