Victor/Victoria

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.

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.

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 Vittorio e Vittoria (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.

A Broadway Musical filmed and broadcast on television as performed on stage is a dicey business with the best of material. I cite Sondheim's original production of "Into The Woods" or the equally enthralling production of his "Sweeny Todd". Both were produced very well for television with the latter receiving Emmy Noms and a win for George Hearn. The idea of transmitting Blake Edward's ill conceived and poorly executed stage version of his movie masterpiece "Victor Victoria", is so tragic as to be almost laughable. This smoking pile of dung, which landed on Broadway in the early 90s, served only to taint the memory of his finest film and to ruin the beautiful voice of one of our most beloved performers. The fact that it enjoyed nearly a year's run is a testament to the love that audiences still have for Julie Andrews and not due in any part to the "Quality" of the show. It was that love for Miss Andrews, and only that, which drew me to the theatre to see the show. I was so disappointed in the extreme with the entire debacle that, though I had received a free admission, I was tempted to go to the box office and demand a refund. When an established musical work comes to Broadway, it is required that no less than 8 new pieces of music be created in order for the show to be considered for the seasonal awards. Herein, the loss of Henry Mancini was blow from which the show obviously never recovered. Leslie Bricusse, the executer of Mancini's musical estate, took on the full responsibility of converting the pleasant score they had created for the film. This composer has had a long and well-respected career usually acting in the capacity of EITHER composer or lyricist. In taking on both, his work has suffered and this piece was a tragic example. The casting of Tony Roberts in the role created by Robert Preston was a mistake of mythic proportion (Where was Dick Van Dyke??) and with very little exception; Blake Edward's stage direction was flat and uninspired. The hotel Farce sequence with cast members diving under beds and through doorways and into closets was the only exception. Avoid it like the plague and rent Mr. Edward's and Ms. Andrew's finest hour - the original 1982 film.