Word: victoria
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...district. White-uniformed butlers glide around serving executives catered gourmet lunches at their desks. Many clients receive annual invitations to conferences like one held in July at New York's Waldorf-Astoria. In 1992, on the occasion of its 10th anniversary, Investcorp threw a lavish party at London's Victoria and Albert Museum. Guests nibbled on caviar served from ice sculptures and strolled under garlands of peonies adorned with caged songbirds. When major deals are in the works, senior executives zoom across the Atlantic on the Concorde. "They fly the Concorde if they want a salami sandwich," jokes a former...
...both Victor (the man-impersonating-a-woman whose racy nightclub act has made him/her the toast of '30s Paris) and Victoria (the down-on-her-luck English opera singer who, desperate for work, agrees to become a woman-impersonating-a-man-impersonating-a-woman whose racy nightclub act, etc.). The show's writer and director is her husband Blake Edwards, who after a long career in films (the Pink Panther series, as well as Victor/Victoria) has chosen to embark on musical theater...
...Victorian family nursing a tangle of Freudian misalliances. The patriarch, Richard (Brian J. Saccente '98), upon learning that his son Teddy is not actually 'of his seed,' indulges his merrily lecherous feelings for his son, while also pursuing the ship's sailor, Higgins (Peter E. Scott '98). His wife, Victoria (Rachel A. Siegel '96) reveals she thinks she has had an affair with her sister, Harriet (Tanya C. Krohn '97), who is variously identified as Victoria's daughter, Arabella, as well as the ship captain's daughter, Lidia. The son, Teddy (Chris F. Terrio '97) has his first sexual encounter...
...play succeeds because the stronger members of the cast are also the most prominently featured, and because everyone delivers and reacts to dialogue with a mixture of freshness and precision. Rachel Siegel's Victoria is the most compelling figure on the stage. She exhibits fine-tuned control in the role, evidenced by her ability to hold the audience rapt throughout a lengthy, silent reverie on her past sexual exploits. Siegel is able to simultaneously communicate the Victorian facade of Victoria, the manic sexual voracity lurking behind this exterior and the surprisingly human needs and doubts which underlie this destructive sexuality...
...11th or 12th hour of the film. Director Roland Joffe dwells instead on the nude bodies of Moore (caressing herself) and Oldman (skinny-dipping) as Hester and the Rev fall in lust. And stay around for their epochally silly sex scene. It makes Hester's secret seem more like Victoria...