The musical theatre version of Blake Edwards' Victor/Victoria has great source material. The movie that this theatre piece is based upon is a treasure. Of course, the question always arises when a product is transferred across mediums, "Is there something to be gained?" Unfortunately, the addition of more songs and a live presentation does not aid the material. Worse, the songs that have been added have detracted from what has become a longish Cliff Notes version of the wonderful original screenplay. The script has the feel of a vanity piece for Mr. Edwards' wife, the talented Julie Andrews. Despite these obstacles, Scottsdale Community Players and Director D. Scott Withers are giving this show a valley community theatre premiere. In the end, it is ironically not the script that works against the evening more than the grandiose production that Mr. Withers and set designer T.J. Weltzien offer. That magnitude seems to have worn down on the cast. By opening night, the onstage exhaustion was more palpable than usual.
Most know the story of sweet, indigent soprano Victoria, taken in by clever impresario Carrol Todd. He convinces her to masquerade as a man named Victor who performs as a female impersonator. She becomes the toast of Paris with this ruse. The twist comes when shady businessman King Marchan falls for Victoria. He is pained to think he has fallen for a man, unaware that she is not what she purports to be. This is a comedy, though, so everyone finds happiness by the finale.
Mr. Withers has created a monolithic offering. In theory, this kind of production, mixing farce, musical theatre splash, and extensive design elements, should help overcome the weak script. In practice, despite some pretty stage pictures, the size of the offering overwhelms the realities of Stagebrush.
This is a production where the actors in the company seem over-rehearsed. Save for one notable exception, the leads and ensemble look and act fatigued. In her first true lead role, Andi Watson has captured the essence of original star Julie Andrews. Her vocalizations and manner are quite similar to those of the role's creator. Unfortunately, she appeared so exhausted opening night, she seemed not to be having fun onstage, a disappointment to an otherwise good offering of a badly written role. Seemingly equally winded was Jerry Wayne Harkey in the pivotal role of impresario Toddy. He still had the impish charm of his character, but was vocally weak, as one who has spent too long preparing for a role. The door was left open for Elizabeth Reynolds, who stole the show as King's ditzy gun moll, Norma. She imbued the role with such energy, such comedic sexiness, and such enthusiasm, the stage lit up on her arrival. Her squeaky renditions of "Paris Makes Me Horny" and "Chicago Illinois" are showstoppers.
Mr. Withers is also responsible for two key pieces of miscasting. In the role of the homosexual-panicky King, Travis Modesitt is too young. He is not powerful enough to overcome the lameness of what little he is asked to do textually and in his single, awful song. As bodyguard Squash, Nik Schultz is too quiet and not physically imposing enough for his role. It's almost laughable when he somehow manages to back down a mob boss well-played by Rick Shipman. That's one fight I couldn't believe would go to the scripted victor. Funny in his many pratfalls, though accent-challenged is Chris Nickerson as nightclub owner Henri.
The ensemble and "dance posse" were similarly affected by the low energy of the show. When performing choreographer Robert L. Harper's bizarre dance numbers, the posse seemed to be disconnected from those around them. Some of Mr. Harper's numbers, notably "Le Jazz Hot" and awful finale "Victor/Victoria" are filled with odd choices, although his choreography for "Paris Makes Me Horny" and "Chicago Illinois" succeeds admirably. Vocally, the ensemble is strong, and Alan Plado's onstage-though-hidden orchestra is well integrated.
I hope someday that Mr. Weltzien will once again have the resources to bring his dreams to life as he did in a distant production of The Sisters Rosensweig. Here, the ideas for the set are incredible, but so many foul-ups occurred opening night, balky draperies and awkwardly opening flats became a running gag. Similarly disappointing are Timothy C. Slope's lavish costumes, which wander from era to era aimlessly, while managing to look unflattering on the beautiful women of the cast. While Michael J. Eddy's lighting is successful, the same could not be said of Dave Temby's sound design, which is set at levels only the hard-of-hearing can enjoy. The most disappointing design element of the evening, though, is Mark Schirmer's wigs, which are uniformly awful throughout.
With all of my criticism, it is important to note that the opening night audience seemed to really enjoy the show, giving the cast and crew a standing ovation. Perhaps shooting for the stars and missing in this piece is more successful than setting lower standards and allowing the weak text to become the centerpiece. I am unsure, but the all-important season subscribers have shown where they stand.
Production Details:
Victor/Victoria Music by Henry
Mancini, Lyrics by Leslie Bricusse, Book by Blake
Edwards
Scottsdale Community
Players
Stagebrush Theatre, Scottsdale (For
a map to location, click this
link)
(480) 990-7405
January 26th - February 18th, 2001