Victor Victoria

Blake Edwards’ gender bending musical comedy has stood the test of time rather well. The 1982 film with which you’re most likely familiar was a remake of a 1933 German movie (Viktor und Viktoria), while the Broadway musical adaptation hit the stage in 1995. Decades later, the jokes still land, and the Academy Award winning Mancini score still gets the toes tapping.

Beenleigh Theatre Group is presenting an enthusiastically realised version of the musical. It’s clearly apparent a lot of blood, sweat and tears have gone into pre-production and rehearsal. They’ve aimed for a big budget musical look with the show concept and set design by Andrew Alley, which is impressive and very effective. Costumes by Alyson Dean are excellent, extremely detailed and often in homage to the film.

Opening night sees a few nerves from the actors, who are clearly putting their all into the work. Everyone is well rehearsed in dialogue and lyrics. Most outstanding acting is delivered by David Austin in the role of Carroll ‘Toddy’ Todd, who shows lovely physicality and warmth. Isabel Kraemer is hilarious as Norma Cassidy; her characterisation is very strong both vocally and physically. Some of the cast in smaller roles really stand out too. Emily Piscioneri (Flower Lady) and Ren Gerry (Waiter, Clam) both have charisma and good technique. 

Best singing is performed by Jane Rapley in the demanding role of Victoria Grant. Her range and skills are very impressive, she just needs to relax and trust herself more when acting, as you do sense some hesitancy there. Most of the other actors hit a bum note here and there when singing, though you don’t really mind as they’re giving it their all. The same can be said of the orchestra; some of the trumpets and trombones hit flat notes throughout the show, but you forgive them as you never expect community theatre to be absolutely flawless.

Julie Smith has done well to prepare the cast and crew for the demands of the show. Blocking is well executed. Scene changes are tight. There’s a clear vision behind the production that everyone is doing their best to realise. She’s obviously having fun with the space and using Crete Street to its best advantage.

Lighting is most effective when using the scrim downstage in combination with gobos. Sound engineering is also notable, especially considering all of the headset microphones in use and the common pitfalls that they can present. Choreography by Lynette Wockner is period appropriate and is at its best in “Le Jazz Hot”.

Victor Victoria delivers plenty of laugh-out-loud moments. There are some lovely, realistic scenes among the humour and plenty of song and dance numbers that keep the entertainment flowing.

Kiesten McCauley