UnowPriceless hyped garbage

Phonearl Good start, but then it gets ruined

PiraBit if their story seems completely bonkers, almost like a feverish work of fiction, you ain't heard nothing yet.

Sameer Callahan It really made me laugh, but for some moments I was tearing up because I could relate so much.

mark.waltz The filmed version of the 1995 Broadway production of the 1982 movie "Victor/Victoria" (previously a German and later British 1930's film) was a strange choice for TV broadcasting. Given the availability of the "practically perfect" (to quote another Julie Andrews movie made into a Broadway musical), "V/V" seems about as necessary as another version of "A Christmas Carol". The filmed production of the stage show is done professionally, but it only indicates what a mediocre show it was for the stage, as well as a sad opening and closing to Henry Mancini and Blake Edwards' stage career.The 1982 boldly went where no other movie musical had dared to go, taking homosexuality in movies away from such recent embarrassments as "Can't Stop the Music" and "Cruising". However, thanks to 1983's "La Cage Aux Folles" (in development at the time of the release of the original "V/V" movie), what came to the stage over a decade later was as dated as "The Floradora Girls" and is presented in the tradition of Blake Edwards' most forced comedies.The depiction of homosexuality in the original movie was daring yet not obnoxious or out of place in the film's 1920's Parisian setting. Other than a few overly bitchy queens (commonplace in the world of female impersonators anyway), there was really little to offend, and straight audiences accepted "V/V" for the entertainment it was. Unfortunately, by 1995, an overly political correctness took over what 10 years ago would have been more daring and different, and settled into a stage musical without the delightful bite of the original.Any production of "V/V" is going to be compared to the performance of its Oscar nominated leading lady, Julie Andrews, and fortunately, for the TV production, she gets to repeat her role. In the decade between the original movie and stage production, she didn't seem to age a bit, and at 60, she is still amazing as both Victoria Grant and her male alter-ego, a Polish Count named Victor. While the high notes of "Le Jazz Hot" are no longer there, that doesn't matter a bit. She is still fantastic, and a shining light as a rather overly dressed lampshade. Michael Nouri, as King Marshan, also does excellent work, and gives a wonderful performance as a masculine gangster who questions his own masculinity in the song "Is the Woman I Love a Man?", the best new song in the show.However, the performances of Rachel York and Tony Roberts don't come anywhere near those of Lesley Ann Warren and Robert Preston from the movies. Warren spoofed every single dumb blonde in the movies up to that point (most notably Jean Harlow's not so dumb one in "Dinner at Eight"), yet York gets really bad new material that makes you want to see the character get soap in her mouth. "Paris Makes Me Horny" has rightfully been classified as one of the worst songs in a Broadway show ever. Roberts takes the showy role of Toddy and tramples it into one of the most boring homosexuals in entertainment history. He takes Preston's best lines and throws them away like a used coffee filter. Tody shouldn't be totally flamboyant or he could be extremely despicable, but he shouldn't be duller than dishwater, either.Other funny lines are transfered from the gay chorus boys to the elderly hag escorted by Tody's ex, and loose their punch. The new songs don't move the plot along; They say in three minutes what the characters said in two sentences. "Le Jazz Hot" gets a French Latin Quarter/New Orleans feel, but the wait for Andrews to enter takes too long. "Louis Says" is not a bad replacement for "The Shady Dame From Seville" and gives the production one of its rare feelings of being near or at the Moulin Rogue.Overall, "Victor/Victoria" is a missed opportunity that is a pale attempt to repeat the success of "La Cage Aux Folles". Two revivals later of that Jerry Herman/Harvey Fierstein/Arthur Laurents musical haven't dimmed the impact that show had on the political climate of Broadway, but "V/V" seemed almost unnecessary. The set, which opens and closes like a doll house, is an extraordinary technical achievement. I highly recommend watching the movie first and giving this one a shot if you are, as I am, a huge fan of Julie Andrews.

tomgauger I think Blake Edwards and the cast of Victor/Victoria knew that Robert Preston would not be around much longer...he was already very ill (and looks it, even sweating a bit near the end.) That last number looks somewhat improvised and I think was a loving tribute to Preston that they got him to do this bit. It makes me cry every time I see it, watching this great actor have fun. It does not appear to have been pre-recorded (except for the orchestra). Everything about that last scene appears to have been done in one take, with cutaways to show audience reaction in the Paris nightclub. The scene, which ends the movie, doesn't really relate to the plot... it is a remarkable Hollywood inside bow to Robert Preston. More than likely, only director Blake Edwards or his wife Julie Andrews could shed more light on this great moment and what happened on the set of Victor/Victoria near the end of the life of a fantastic actor.

zodzetrick 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.

lovesclassics 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.