Victor, Victoria by Henry Mancini and Leslie Bricusse, Directed by Caroline Smith, Stirling Festival Theatre, May 31st - June 17th

STIRLING, ON - Stirling Festival Theatre lives up to and surpasses its expectations as they kick off their 10th Season with the Canadian premier of Henry Mancini and Leslie Bricusse’s Victor/Victoria. Based on the theatrical film produced in 1982 Victor/Victoria premiered on Broadway in 1995 introducing the famous line, “You want me to be a woman, pretending to be a man, pretending to be a woman?”

Set in 1930’s Paris, Victor/Victoria has us following the comedic events surrounding a young female soprano trying to find work at the turn of the century. As she finds herself as a project for a night club singer we are introduced to an array of fantastic characters, comedic interludes and fabulous musical numbers.

As we enter the world of Victor/Victoria we are initially impressed with the onstage musical ensemble. Not only do they set the tone of an energetic and articulate show but throughout are continuously involved with each scene as characters themselves.
At the beginning we can establish a connection with Toddy, the gentleman that discovers our harmless Victoria as he reels her and her vocal talents in to be his club’s main attraction as Victor. I found myself wondering when or if this man was going to reveal an alternative motive but instead came to the conclusion that his actions were somewhat innocent and gradually fell in love with his character and all that was portrayed. Not only do we find ourselves a part of the Paris nightlife, we begin to feel a part of the characters life. A woman pretending to be a man pretending to be a woman performing in a club in Paris surrounded by genuine people entertaining publicly. Seems somewhat simple.

So what’s missing? Love and controversy of course. Victoria finds herself the attraction of a mobster that becomes extremely confused. Considering he thinks Victoria is actually a Victor we join him on an emotional journey to discover his sexual fate. In addition, we mustn’t overlook his other half, Norma. A woman, who as she discovers her boyfriend has a fascination with a man still teases, torments and provocatively attempts to lure him to bed. As eccentric as she is written to be, the character interpretation was absolutely spectacular. Through each lyrical solo her seductive body language and hilarious facial expressions we can totally believe she really is “Horrrrrrrny”. With all the characters I have ever been introduced to theatrically, she would have to be my absolute favorite, and it would be difficult to imagine her played by another.

Featuring a cast from a variety of backgrounds and experience I’d have to give credit for the amazing chemistry seen throughout the show between each scene, with every member. Each musical number flowed effortlessly and each lyric was delivered with significance and precision. An honorable mention to Musical Director/Pianist and his accompaniments is definitely in order.

From the on-stage musical ensemble to the flawless choreography, everyone involved in this production should be proud of the accomplishment they have endured. Not only was the timing impeccable but the characters were brought to life by immaculate consistency and tremendous energy.

Having seen musicals of this caliber from London, England to Victoria, BC I can honestly say I forgot that I was in a small community in Southeastern Ontario until the curtain fell and I left the theatre. And that’s what made this production that much more spectacular.

I’d like to congratulate Caroline Smith, the entire Victor/Victoria Company and Production Team on a job extremely well done and can only imagine what Stirling Festival Theatre has in store for another decade of great performances.

Geri Cummings