Word: victorias
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Dates: during 1990-1999
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...most of its relevance as Wallace approaches adulthood. However, the haunting presence of silhouetted heads behind the screens functions as the perfect atmosphere for Wallace's monologues. Looking at the silhouettes is like staring into Wallace's mind and seeing the different women that have come into his life: Victoria (Markella Zanni), Sarah (Leah Altman), Lili (Hilary Weissberg) and Nina (Alexandra Marolachakis). They all fuse into one woman, Wallace's dead mother, of course...
...Victoria E. M. Cain '97 contributed to the reporting of this story...
...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...
...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...