Word: evrard
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...them, SoftSheen and Carson, and integrated them into a single entity that the company sees as a worldbeater. Researchers at the Chicago institute will help develop products that SoftSheen/Carson can take well beyond the U.S. "You can't pretend to be No. 1 in the world," says Alain Evrard, L'Oreal's managing director for Africa, "and forget about 1 billion consumers of African origin...
...strong presence in South Africa, where in 2002 it accounted for about 41% of that country's estimated $90 million black hair-care market. But L'Oreal wants to have as big an impact in other African markets. Oddly enough, this is where the U.S. comes in. Africans, says Evrard, "believe that if [a product] is good for the highly demanding U.S. black consumer, it might also be better for them...
...difficult role of Corday's lover Duperet, Ben Evett is hilariously lewd, while Laurie Gallueto is equally effective in the role of Simonne Evrard, the head of Charenton, who tries to neal her patients through participation in art. At the same time, she is the censor of the play, who interrupts subversive talk and menacingly reminds the crazies that "everything is being done to alleviate sufferings." Pale and stone-faced, she makes the audience's blood run cold...
...play, Evrard sees her production turn into a fiasco. When Marat is stabbed, the passions of the inmates erupt. They assault one another, pummel away at the nuns, rush at the bars which separate them from the audience and clamor for freedom. This is how the mob acts when it rises up in revolution. We are all maniacs. Weiss seems to say, and society is our asylum...
Although the political ideas are overwhelmed by the tide of general insanity, the play on the whole is gripping and provocative. Simonne Evrard sits in her spectators' box, coolly removed from the raging inmates. In one corner, Marat squats in his tub. In the other, Sade leans casually against a pedestal. The other players in the historical drama form a ring. Behind them are the rest of the patients, sitting on benches beneath X-shaped projections that could be gallows or crucifixes. Beyond the stage sits the audience, who must absorb Weiss's ideas and interpret them. But the actual...
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