Inspired by Blake Edwards' book, this Broadway show based on the 1982 film of the same name is a warm, humorous, and wildly energetic look at the nature of love, gender perceptions, and the battle of the sexes. Victor/Victoria tells the story of a penniless soprano, named Victoria, who conspires with a gay impresario to disguise herself as "Victor" and, coincidentally, becomes famous in Paris. Complications arise when a mobster sees the act and is attracted to its star. The original production included Julie Andrews who was nominated for both Tony and Drama Desk Awards. Music by Henri Mancini.
From press release.
Category:
Entertainment
Subcategory:
Theater
Price:
$30, $27, $25, $22, discounts available for seniors, students and groups of 20 or more
When the movie "Victor/Victoria" came out in 1982, it quickly became known as an off-the-wall star vehicle for Julie Andrews, cast as an unemployed singer who found fame after taking on the ludicrous guise of a female impersonator.
Refashioned as a Broadway show in 1995, "Victor/Victoria" has made its way to Indy's own American Cabaret Theatre, where it will run through June 1. And even in absence of a household name like Andrews, ACT's production is proof enough that local talent can carry off the show's comedy and social relevance.
ACT's "Victor/Victoria" is not so memorable for its production values -- particularly a roll-around set that switches back and forth between pale, hand-painted Parisian street scenes and cramped hotel bedrooms -- but the leads are outstanding.
Anyone approaching the title role must possess the looks and wide vocal range to "pass" both as a man and a woman. Fortunately, Bobbi Bates has got the goods.
Bates comes across as a rather Midwestern Victoria Grant, with her spiky red hair cut short, dyed dark and swept back from the forehead. And her voice can take either the high road or the low road, especially in the searing "Le Jazz Hot." But Bates may be at her best in the poignant ballad "Living in the Shadows."
As the flamboyant Carroll Todd, or "Toddy," who comes up with the scheme to catapult Grant to stardom, Ron Spencer, executive artistic director of Theatre on the Square, plays a role that he seems to have been born to do. His glib comic timing and sense of the outrageous are on the money time after time.
Company standouts also include Dave Ruark, as the wonderfully uncomfortable club owner King Marchan, and Nathalie Cruz, as Marchan's bleach-blond gangster moll, Norma Cassidy.
Overall, ACT's rendition of the gender-bending musical succeeds not only for its oddball humor, but for its bittersweet message. In program notes, company artistic director Bob Harbin wrote that the musical calls to mind "the nature of love and gender perception." And just as the movie did in the '80s, Harbin's "Victor/Victoria" espouses a message of tolerance.
ACT "Victor/Victoria" amuses, sends poignant message
When the movie "Victor/Victoria" came out in 1982, it quickly became known as an off-the-wall star vehicle for Julie Andrews, cast as an unemployed singer who found fame after taking on the ludicrous guise of a female impersonator.
Refashioned as a Broadway show in 1995, "Victor/Victoria" has made its way to Indy's own American Cabaret Theatre, where it will run through June 1. And even in absence of a household name like Andrews, ACT's production is proof enough that local talent can carry off the show's comedy and social relevance.
ACT's "Victor/Victoria" is not so memorable for its production values -- particularly a roll-around set that switches back and forth between pale, hand-painted Parisian street scenes and cramped hotel bedrooms -- but the leads are outstanding.
Anyone approaching the title role must possess the looks and wide vocal range to "pass" both as a man and a woman. Fortunately, Bobbi Bates has got the goods.
Bates comes across as a rather Midwestern Victoria Grant, with her spiky red hair cut short, dyed dark and swept back from the forehead. And her voice can take either the high road or the low road, especially in the searing "Le Jazz Hot." But Bates may be at her best in the poignant ballad "Living in the Shadows."
As the flamboyant Carroll Todd, or "Toddy," who comes up with the scheme to catapult Grant to stardom, Ron Spencer, executive artistic director of Theatre on the Square, plays a role that he seems to have been born to do. His glib comic timing and sense of the outrageous are on the money time after time.
Company standouts also include Dave Ruark, as the wonderfully uncomfortable club owner King Marchan, and Nathalie Cruz, as Marchan's bleach-blond gangster moll, Norma Cassidy.
Overall, ACT's rendition of the gender-bending musical succeeds not only for its oddball humor, but for its bittersweet message. In program notes, company artistic director Bob Harbin wrote that the musical calls to mind "the nature of love and gender perception." And just as the movie did in the '80s, Harbin's "Victor/Victoria" espouses a message of tolerance.