![]() His replacement, Frank Wildhorn, did not deliver the same caliber of tunefulness. The movie's songs were written by Henry Mancini and lyricist Leslie Bricusse, and a few of them were very good: "Le Jazz Hot," "You and Me," and especially, "Crazy World." However, more songs were needed to flesh out the stage musical (it is usually the case that musicals written for the screen have notably fewer songs than do musicals written for the stage), and Mancini died before those additional songs could be written. The primary weakness is the musicnot its performance, for the jazzy notes are handled with exquisite flare by Artistry's inestimable music director Anita Ruth and well sung by a strong cast, especially leading lady Ann Michelswho, though not Julie Andrews, may be the closest thing to her on Twin Cities stages (let's not forget her splendid Mary Poppins at Chanhassen Dinner Theater). That scene, with its incidental music suggesting furtive tiptoes, brings to mind the old Pink Panther movies no surprise, as Blake Edwards created and directed those too. ![]() An extended scene of characters hiding, and missing each by inches, plays out with sly finesse. Ferrell creates some sizzling dance sequences, in particular "Le Jazz Hot," a holdover from the movie, and directs the book scenes, which are the show's strength, with sizzle and style. It has a well-written, very funny book, with most of the humor holding up well over the passing decades (recognized quite a bit of dialogue, and almost all of the plot points, from the 1982 film). ![]() Artistry's reliably high standard for quality productions, this one directed and choreographed by Michael Matthew Ferrell, gives Victor/Victoria every opportunity to succeed, and on most levels it does. Thanks to Artistry, we have another go at this 24-year-old musical that had so much going for it, but fizzled out. Victor/Victoria completed more than 700 performances on Broadway, but it struggled after Andrews left the show (replaced by Raquel Welch) and, once closed, was soon forgotten. For the pundits, Victor/Victoria became an illustration of tired, outdated musicals in contrast to Rent's youth, vitality and relevance. Then a few months later, Rent opened on Broadway. The show opened in New York in 1995 to tepid reviews, which for the most part praised Miss Andrews and Rachel York in a supporting role, admired the costumes and stage design, but not much else. Truth be told, the early buzz on the stage version of Victor/Victoria had not been so great. Sadly, I missed the show's pre-Broadway tryout, even though it was right here in Minneapolis, with Edwards' wife Julie Andrews repeating her starring role as Victoria Grant, who for a brief period becomes Paris's most celebrated female impersonator, Victor. In 1995, Blake Edwards, who wrote the screenplay and directed the movie (based on the 1933 German film Viktor und Viktoria shot by Reinhold Schünzel), adapted Victor/Victoria into a stage musical, repeating his roles as writer and director. It was wildly funny, had some terrific musical numbers and larger than life star performances, and poked fun at gender roles and homophobic angst in a lighthearted way that was a welcome reprieve from the real struggles for women's equality and gay rights of the era. Victor/Victoria has been one of my favorite movies since its release in 1982. Review by Arthur Dorman | Season ScheduleĪlso see Arty's reviews of A Bright Room Called Day, Monty Python's Spamalot and Hedwig and the Angry Inch
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