Gender-bending ‘Victor/Victoria’ delivers REVIEW
WARWICK — Ocean State Theatre is pulling out all the stops for “Victor/Victoria.”
Elaborate sets and fabulous costumes complement a cast of fine singers, dancers and actors under the direction of Amiee Turner, whose efforts put life into this somewhat dated musical. She roots out the humor and stages the dance numbers, choreographed by Sebastian Goldberg, with plenty of pizzazz to keep us entertained.
The musical tells the same tale as Blake Edwards’ 1982 movie, which starred his wife, Julie Andrews, in the title roles.
British singer Victoria Grant is broke and looking for work in 1930s Paris when drag-queen entertainer Carroll “Toddy” Todd takes pity on her and comes up with an idea guaranteed to get her work. Victoria should become Victor and perform in drag; in other words, be a woman portraying a man portraying a woman.
The ruse works, and Victor becomes the toast of the town, even after Chicago mobster King Marchan not only gets suspicious but also finds himself attracted to … a man? That would ruin him. Meanwhile, Victoria is falling in love with Marchan herself, although revealing her gender would mean the end of her wildly successful career.
The gender stereotypes are from the past, but Turner and her cast go with the flow for the sake of the humor. That works best when actors, notably Bill Whitehead Jr. as Toddy, underplay the stereotype but still get the joke across. For example, when a woman, smitten with Toddy, learns he’s gay, she suggests his sexuality is “wasted.”
“Oh, it’s not wasted,” Whitehead responds, with an expression and a tone of voice that play the moment just right.
As Victor, Eden Casteel adopts a manly demeanor, but what you’ll remember is her voice: gorgeous. She has a clear and expressive soprano that glides over the score, which was begun by Henry Mancini and, after his death, completed by Frank Wildhorn. Patrons may remember her voice from the theater’s Cabaret Club, but this is her first main stage appearance.
A regular at Ocean State, Christopher Swan has played everything from a push-over to this show’s mobster, King Marchan, and once again is convincing and entertaining. Kristin Wetherington is always good for a laugh as Norma Cassidy, the mobster’s dim-witted girlfriend, although she could drop the highpitched voice an octave and still be funny.
The talent spreads through the supporting cast, especially the sexy dancers who perform in the Parisian clubs, and costume designer Emily Taradash dresses those dancers in fitting – and fitted – outfits. Other male characters, including Victor, wear tuxedos, so Taradash unleashes eyecatching color on Miss Cassidy.
When envisioning a show, Turner often goes for multi-level sets, and this time Erik D. Diaz’ depiction of connecting hotel rooms, housing Marchan and Cassidy on one side, Victor and Toddy on the other, is impressive with staircases and lots of doors for the characters to open and slam shut, at times inconveniently – thus, humorously.
While the deception at the center of the story is amusing, it’s not deep. There is, however, a revealing scene when Marchan and Victoria debate who should give up life and career to make their relationship work, and it should be highlighted. It’s a debate couples still have, and that scene puts a clever – and contemporary – twist in the story.
Performances of “Victor/Victoria” continue through May 21 at Ocean State Theatre, 1245 Jefferson Blvd. Tickets are $39-$59. Get tickets at the box office in the theater, by calling 401-921-6800, or online at www.OceanStateTheatre.org.
After Friday and Saturday evening performances, cast members, Ocean State “alumni” and staff members perform at the Post Show Piano Bar in the theater lobby. Admission is free, and attendance at the preceding performance is not required. Reservations, however, are recommended; make them by calling 401921-6800.