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All the women in this gloriously camp yet seriously heartfelt celebration of female powers of survival and self-emancipation have been abandoned by men.There's a wonderfully jabbing end-of-the-tether quality to the Act One finale (“Welcome to the edge, the verge, the ledge”) where Greig, in specially trained and remarkably serviceable voice, is joined by the rest of the teetering brigade.Angular, gawky, klutzy, she has us hooked on every astonished and distressed look, every charming smile and legible emotion, oscillating between resignation and rage – and when she sings, as she does often, the power of her voice drags you into the vortex of her predicament about the faithless Ivan (Jerome Pradon).Hadyn Gwynne is little short of hilarious as the latter’s tall, long abandoned wife – a growling Gorgon in retro clothing who yet finally moves you with her lament for lost years and vanished allure.Europe has been a place of battles and political intrigue for centuries.As we approach a vote on the UK's membership of the European Union, we look at what 50 writers, actors, historians, artists and comedians have said about Europe and its nations.
Only Hadyn Oakley and Seline Hizli, playing Ivan’s son and demanding fiancée are poor substitutes for their celluloid originals (Antonio Banderas and the strikingly featured Rossy de Palma).We're told both Robin and Paula saw the light and realized their battle was taking an emotional toll on Julian, so they agreed to work toward a settlement. of Children and Family Services has an open case after Julian complained to teachers at his school Robin was using excessive corporal punishment ... As we reported, Julian had become fearful of Robin, but in the last few weeks they have been spending an increasing amount of time together -- especially since Paula has been out of town filming -- and we're told the boy is now "comfortable" with his dad.David Yazbek’s warm, Latin American-flavoured music and lyrics sometimes incline to the generic, the words a paella of yesterday’s left-over sentiments but the way it’s all served up, you don’t especially notice.
And it never proves like the Valium-saturated gazpacho that provides a pivotal chemical plot-twist to the farce-like action.And Haydn Gwynne is bliss as the bonkers Lucia, a mad Fury swathed in the 1960s outfits (including a lunatic pink Jackie Kennedy number) that pre-dated the incarceration caused by her husband's desertion, but hauntingly communicating in “Invisible”, which is the best song of the evening, the tragic price she has paid for this long suspension of time.Preparing the notorious gazpacho, Greig has a theatrically self-conscious Ophelia moment (“There's rosemary, that's for remembrance”) and the emotional truth and pertinence pierce your heart before she then tips in an avalanche of valium.After the next problem comes, I'll be delighted to correspond again with you. But system administration has never been one of my talents.