![]() 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 For the pundits, Victor/Victoria became an illustration of tired, outdated musicals in contrast to Rent's youth, vitality and relevance.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. Marc Huestis: A VICTOR VICTORIA VALENTINEReview 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 On Sale at $25 General, $40 Preferred VIP Seating Until January 16!Īfter January 16, Tix are $30 General Seating, $45 Preferred VIP Seating Read more.Īfter January 16, Tix are $30 General Seating, $45 Preferred VIP Seating ![]() $5 off General Seating and VIP Preferred Seating This lovely night will be capped by a free screening of VICTOR/VICTORIA. Warren’s tv & screen gems & a tribute performance by "le Jazz Hot" Ethylina Canne. Also featured in this glittering gala -a clip valentine of Ms. She will discuss her remarkable career-from her breakout performance in 1965’s CINDERELLA, to her Oscar nominated portrayal of dumb blonde Norma Cassady (Pookie.I'm hoooornnny") in Blake Edwards’1982 gender bender VICTOR/VICTORIA. It'll be a Valentine's night for le jazz hot-ties of all persuasions as Marc Huestis and the Palm Springs Cultural Center presents A VICTOR/VICTORIA VALENTINE - a loving tribute to Academy Award® Nominee Lesley Ann Warren Live In-Person! The evening of romance includes a live interview with enchanting Lesley Ann Warren, queried by the legendary Bruce Vilanch. ![]()
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