Why so much hype?

A waste of 90 minutes of my life

It's entirely possible that sending the audience out feeling lousy was intentional

All of these films share one commonality, that being a kind of emotional center that humanizes a cast of monsters.

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.

Victor/Victoria seemed to be a cursed project from it's inception for Broadway. First of all Henry Mancini died before ever having seen his work go to the boards. Then during the run Billy Byers, it's orchestrater, died on his birthday in 1996 and for it's grand finale, this curse ended the vocal career of it's star, Julie Andrews. One wonders why there was such problems.....Maybe it started back with the original Viktor und Viktoria, the original German version, when it's star Renate Muller hung herself in a Berlin sanitorium on Julie's 8th birthday, 1943. It seems such a shame that such a dark shadow marrs such a lovely work. The show it's self is quite enjoyable considering all it's problems.

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.

Devotees of musical theatre history in general and Julie Andrews in particular will appreciate this complete filming of Andrew's "final" vocal role in 1995's "Victor/Victoria."Here is an opportunity to see one of the world's most talented best loved performers in what may well be her last singing performance in a theatrical role. Vocal problems incurred during the run of this Broadway production ended a fabulous career for this legendary musical comedy artist.Recreating a role done thirteen years earlier on film-- both written and directed by Andrew's husband, Blake Edwards--Andrews excels in the part through her sheer "star power." While one may be aware of clever "cover-up techniques" to mask or relieve her vocal instrument, one never tires of the indomitable Andrews spunk and spirit as she sails through this challengingly campy role to great success.Several cameras are employed to provide movement and variety in the filming of this production before a live audience. Still, the limitations are built into the enterprise from the start, and this "Victor/Victoria" becomes more of a connoisseur's than general public's treasure.Andrews fans and other special interest viewers will greatly appreciate this opportunity to see and own this now historic performance and theatre piece perserved on video for library and private collectors' archives.