In this musical about a female impersonator (based on the Julie Andrews film), it’s one small step for a woman to dress up in drag, and one slightly bigger step for man and womankind – be they gay, straight or anything in between.
Confidently directed by Thom Southerland (Mack and Mabel, Parade) and with smart choreography from Lee Proud, this show shares those productions’ winning qualities, although this is a slightly simpler story in a minor key. There are parallels with ‘La Cage aux Folles’ in terms of story and tone and the setting in a French night club, nicely recreated in a tunnel at Southwark Playhouse.
Anna Francolini as Victor/Victoria has a clear attractive voice and tons of integrity. There are shades of Julie Andrews in her crisp yet honeyed tones and her wholesome brand of comic misfit. ‘If I were a Man’ shows off the subtleties in her acting as well as her singing voice. She doesn’t yet sell the up-tempo numbers as well as the ballads, despite a smoothly-choreographed ‘Le Jazz Hot’, but she grows into the role as the night goes on.
Able support comes from Richard Dempsey who brings real warmth as ‘Toddy’ and carries a moving subplot about gay love, Matthew Cutts who sings well as Victoria’s lover and Kate Nelson as ditsy blonde, Norma. The company are all strong although at the moment the first half feels a little underpowered, perhaps due to the storyline being set up, or opening night nerves. For a show about the power of cross-dressing it is also oddly asexual.
The second half is much stronger. Francolini really convinces in the more serious dramatic scenes. Her voice grows in power and she creates great pathos in her duet with Matthew Cutts, ‘Almost a love song’. Her other stand out song is ‘Living in the Shadows’, a soulful anthem for anyone who’s had to hide who they really are. The final plotting is a little thin but the show’s finale manages to be both charming and touching.
Victor/Victoria is an odd little creature. S/he could just be a cipher, a metaphor for closet homosexuality but the show’s genuine warmth and Francolini’s emotion make Victor more than just a camp creation, and into a real live boy.
