Victor/Victoria

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.

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.

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.

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!

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.