Review: VICTOR / VICTORIA at Palm Canyon Theatre

I recently had the privilege of stepping into the enchanting world of "Victor/Victoria," where identity and intrigue dance together in a spectacular blend of comedy and musical brilliance now running at Palm Canyon Theatre. With a book by Blake Edwards, music by the legendary Henry Mancini, and lyrics by Leslie Bricusse, this production offers a delightful exploration of gender and identity. Set in 1930s Paris, the story follows Victoria Grant, played by the talented Christine Tringali Nunes, a down-and-out singer who, with the help of her commiserating buddy Toddy, portrayed by David Brooks, transforms into "Victor," a male female impersonator. The plot thickens as Victoria/Victoria's dual identity attracts the attention of the suave gangster King Marchan, played by Rob Kriesinger Deck, who finds himself irresistibly drawn to "Victor." This musical, with additional music by Frank Wildhorn, is a whimsical yet poignant tale that challenges societal norms with humor and flair.

Christine Tringali Nunes delivers a powerful performance as Victoria Grant aka Victor, spinning like a dervish in navigating the complexities of her character's dual identity. Her vocal range and emotional depth bring authenticity to every note, leaving audiences charmed. Nunes's chemistry with David Brooks, who plays the witty and flamboyantly gay Toddy, is electric. Brooks' comedic timing and charismatic presence provide the perfect counterbalance to Nunes's nuanced portrayal, making their scenes together a highlight of the show.

Rob Kriesinger Denk is compelling as darkling heavy King Marchan, exuding the perfect blend of charm, menace and confusion as he grapples with his feelings towards "Victor." Denk's portrayal adds layers to the narrative, capturing the internal conflict of a man reconciling his own prejudices against new possibilities and a lot of self exploration. Se Layne as Norma Cassidy, King’s bombshell New Jersey girlfriend, delivers a power-packed performance that is both hilarious and endearing. Local audiences usually see Ms. Layne in more proper roles, one forgets she is a formidable comedic performer, here shown in abundance with Borscht Belt bravado and dynamic antics that infuse a vibrant energy to the production.  Her torch song “Paris Makes Me Horny” is worth the price of admission.

Darin MacLeod as Squash Bernstein, King’s loyal bodyguard, offers a delightful performance that balances toughness with tenderness. MacLeod's portrayal of Squash's evolving friendship with Toddy adds an unexpected and heartwarming subplot to the already rich narrative tapestry of "Victor/Victoria."  I don’t care what side of bed you sleep on, you will fall in love with Squash. Other standouts include Patrick Benjamin Nash as a Jazz Singer who put the vocal sizzle in “Le Jazz Hot”, Terry Huber as night club producer Andre Cassell, Adam Heiter as sneaky Andre Labisse who goes to great heights (and depths) to prove our Victor is really a “she” and the ensemble who did all the heavy lifting on dance and choral bits including Neil Badham, Bryan Kreisinger Denk, Linda Mack Berven, Taylor Dibble, Jackson Enzler, Taylor Graham, Emmy Kaminsky, Elissa Landi, a “very friendly” Larry Martin, John Rothgeb, Denise Rooney, Fiona Sarchett and Sanai Wright.

Artistic Director Derik Shopinski deserves commendation for his adept handling of the production's pacing, ensuring that the show's zany chase scenes are as exhilarating as they are coherent. Se Layne's choreography is lively and engaging, perfectly complementing the musical's vibrant score. Musical Director Robert Ollis deserves accolades for his work in maintaining clean vocals and tight harmonies throughout the performance. The musical numbers are delivered with precision and passion, enhancing the overall impact of the show.

Shopinski's costume design is another standout aspect, capturing the elegance and style of the 1930s with grace and flair. The costumes not only reflect the era but also support the characters' transformations and the narrative's playful exploration of identity. The production’s visual appeal is further enhanced by Nick Edwards's projections, which seamlessly integrate with J.W. Layne's set design and lighting. The result is a cohesive and immersive experience that transports the audience to the heart of Paris in an era defined by its sophistication and style. The sound quality was on point, ensuring every word and note was heard clearly, contributing to a thoroughly enjoyable performance.

"Victor/Victoria" at Palm Canyon Theatre is a gender bending rollercoaster of a theatrical experience not to be missed. The combined talents of the cast and crew have created a production that is as entertaining as it is thought-provoking. With its rich music, dynamic performances, and stunning production design, this show promises an evening of laughter, reflection, and sheer enjoyment. The production continues its run Thursdays at 7:00 PM, Fridays and Saturdays at 8:00 PM, and Sunday matinees at 2:00 PM, playing through April 6. Tickets are available for purchase ONLY at palmcanyontheatre.net or by calling the box office at 760-323-5123.

Next up on Palm Canyon Theatre’s 2024-25 season slate:

Broadway Backwards (March 26, 2025) Palm Canyon Theatre (PCT) is presenting a concert that flips the roles on traditional performances. During the cabaret-style performance of Broadway Backwards, men will sing songs originally written for women, and women will sing songs originally written for men. This twist allows performers a rare opportunity to interpret Broadway songs they would likely never be cast to sing.

One Flew Over the Cuckoo's Nest (Apr 18 - Apr 27, 2025) This stage adaptation of Ken Kesey's celebrated novel explores the brutality of life in a mental institution with humor, candor, and unforgettable characters. After being convicted of a petty crime, a charming, rebellious rogue named McMurphy contrives to serve his short sentence in an airy institution rather than in a prison. This, he soon learns, was a mistake.

Forever Plaid (May 9 - 18, 2025) On the way to their first big gig, the "Plaids" are broadsided by a school bus and killed instantly. It is at the moment when their lives end that the story of Forever Plaid begins with the “Plaids” returning from the afterlife for one final chance at musical glory. Audiences delight in the ”Plaid’s” playful patter and their famous harmonizing of great nostalgic songs of the 1950s.

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