‘Extremely disturbed': Deborra-Lee Furness feels ‘betrayed' by Sutton Foster's behaviour
Deborra-Lee Furness has been left 'extremely disturbed' by Sutton Foster's behaviour, an insider has claimed.
Furness, 69, shocked the world when she made a bombshell statement last month, four days after she submitted paperwork to end her marriage with Hugh Jackman.
The statement, which allegedly took Jackman by complete surprise, revealed that their split had been anything but amicable.
In the months after their marriage broke down, reports began to emerge that Jackman's new girlfriend, Sutton Foster, had previously made numerous attempts to befriend Furness.
It emerged that Jackman and Foster, who became close pals while co-starring on Broadway, had even pushed for double dates together.
Now the dust has settled, an insider has revealed that Furness has been left horrified looking back in hindsight.
'The fact that Sutton used to go on double dates and tried so hard to befriend Deb is extremely disturbing to her,' an insider told the Daily Mail.
The source went on to reveal that Furness has grown closer to Foster's ex-husband, with the pair bonding over their shared heartbreak.
'She will never have anything to do with Sutton. Deb is friends with Sutton's ex and they both share a deep sense of betrayal.'
'Deb knows that one day this will all come back around to the both of them,' added the insider of Furness' current state of mind about Jackman and Foster.
The former couple, who share 25-year-old son, Oscar, and 19-year-old daughter, Ava, announced they were splitting 'with gratitude, love and kindness' in September 2023.
It was confirmed the following year that Jackman had been quietly dating his Music Man co-star, Sutton Foster.
The pair was seen kissing in public for the first time in January.
Meanwhile, Jackman's close friend, radio presenter Gus Worland, shared new insight on the situation in the wake of Furness' statement.
'No one wants anyone to go through what [Jackman] is, and he is going through it publicly because of his fame,' Gus Worland recently said during a radio interview.
'One thing I have been really strict on is to let Hugh and Deborra-lee Furness do what they have had to do. I was over in New York with him last month and he is fine. He is going along well.'
Jackman's close pal went on to share that he's working hard behind the scenes to make things as smooth as possible between the two exes.
'I hope Deb does as well. They were together for 30 years and have two beautiful kids together,' he said. 'I go to their kids and ask them what we can do to make sure they get through this as best as possible.'
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But lately, strange things have been happening. She's been having visions of her late husband Carson (Michael Rose) who was sometimes her director, and worse, she's having more and more trouble remembering people's names - and worse, her lines. Any actor can have a memory lapse but here it's getting to the point where the director, the producer and the other actors are noticing. And the producer, in particular, is getting worried. Will Lillian, the big draw, be up to the demands of the Chekhov play? Should she be replaced? Medical tests reveal a terrible truth: she has a form of dementia. She's shocked and terrified but desperately wants to stay in the play, knowing it will be her last. She also wants to reconcile with her daughter Margaret (Lily Rabe) who was sorely neglected as a result of her parents' careers and wonders why her mother keeps wanting to spend time with her now. But Lillian can't bring herself to tell her daughter the truth and, of course, this does not bode well. 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And I have to say one way to alleviate Lillian's problems seemed painfully obvious: it occurred to me long before someone in the movie thought of it. Director Michael Christof's experience with thrillers (Body Shots, The Night Clerk) helps convey the creepiness as well as the strange comfort of Lillian's hallucinations. Providing some lighter moments is Lillian's flirty, friendly banter with artist Ty (Pierce Brosnan) who lives in the neighbouring apartment. If you're in the mood for a poignant film where the excellent performances are foregrounded, this is well worth a watch. This is one of those movies that gets described as a love letter to the theatre. For those of us who enjoy both art forms and can look past some of the cliches and overdramatic elements, it's well worth seeing. For others, it might not appeal quite so much, but the acting is excellent and it's sometimes funny despite its underlying seriousness. It's a truism that there aren't many good movie parts for older actresses but there are a couple of juicy roles here. At one point Meryl Streep was going to play the title character and I can imagine Glenn Close eyed the role with longing. But Jessica Lange is the star and she's excellent. This film was produced for HBO in the United States but, like an earlier HBO movie, the 2013 Liberace biopic Behind the Candelabra, it's getting a theatrical run here. Lillian is the First Lady of the American Theatre (you can practically hear the capital letters when it's said). She's been in hundreds of plays over a long career, a total pro and a bit of a diva, the kind of grande dame who often seems to be acting as much off stage as on. She's in rehearsals for a Broadway production of The Cherry Orchard, expected to be another triumph. But lately, strange things have been happening. She's been having visions of her late husband Carson (Michael Rose) who was sometimes her director, and worse, she's having more and more trouble remembering people's names - and worse, her lines. Any actor can have a memory lapse but here it's getting to the point where the director, the producer and the other actors are noticing. And the producer, in particular, is getting worried. Will Lillian, the big draw, be up to the demands of the Chekhov play? Should she be replaced? Medical tests reveal a terrible truth: she has a form of dementia. She's shocked and terrified but desperately wants to stay in the play, knowing it will be her last. She also wants to reconcile with her daughter Margaret (Lily Rabe) who was sorely neglected as a result of her parents' careers and wonders why her mother keeps wanting to spend time with her now. But Lillian can't bring herself to tell her daughter the truth and, of course, this does not bode well. Her longtime friend and assistant Edith (Kathy Bates) finds out what's going on sooner than most and, having been through the experience with her husband, is shaken by the thought of facing it again. Bates is excellent in bringing out the mix of good humour, affection, tough love and anguish in the role. The Great Gillian Hall is like a spiritual sequel to the classic backstage movie All About Eve. In that movie, great Broadway star Margot has to accept that she's getting older (40!) and that love can be had as well as a career. Here, Lillian has lost one great love, her husband, and is about to lose another, her career. And, all too soon, there will be more and more losses. There have been other movies dealing with dementia - The Notebook, Still Alice, and The Father among them - so many elements of Elisabeth Seldes Annacone's screenplay are familiar. And I have to say one way to alleviate Lillian's problems seemed painfully obvious: it occurred to me long before someone in the movie thought of it. Director Michael Christof's experience with thrillers (Body Shots, The Night Clerk) helps convey the creepiness as well as the strange comfort of Lillian's hallucinations. Providing some lighter moments is Lillian's flirty, friendly banter with artist Ty (Pierce Brosnan) who lives in the neighbouring apartment. If you're in the mood for a poignant film where the excellent performances are foregrounded, this is well worth a watch. This is one of those movies that gets described as a love letter to the theatre. For those of us who enjoy both art forms and can look past some of the cliches and overdramatic elements, it's well worth seeing. For others, it might not appeal quite so much, but the acting is excellent and it's sometimes funny despite its underlying seriousness. It's a truism that there aren't many good movie parts for older actresses but there are a couple of juicy roles here. At one point Meryl Streep was going to play the title character and I can imagine Glenn Close eyed the role with longing. But Jessica Lange is the star and she's excellent. This film was produced for HBO in the United States but, like an earlier HBO movie, the 2013 Liberace biopic Behind the Candelabra, it's getting a theatrical run here. Lillian is the First Lady of the American Theatre (you can practically hear the capital letters when it's said). She's been in hundreds of plays over a long career, a total pro and a bit of a diva, the kind of grande dame who often seems to be acting as much off stage as on. She's in rehearsals for a Broadway production of The Cherry Orchard, expected to be another triumph. But lately, strange things have been happening. She's been having visions of her late husband Carson (Michael Rose) who was sometimes her director, and worse, she's having more and more trouble remembering people's names - and worse, her lines. Any actor can have a memory lapse but here it's getting to the point where the director, the producer and the other actors are noticing. And the producer, in particular, is getting worried. Will Lillian, the big draw, be up to the demands of the Chekhov play? Should she be replaced? Medical tests reveal a terrible truth: she has a form of dementia. She's shocked and terrified but desperately wants to stay in the play, knowing it will be her last. She also wants to reconcile with her daughter Margaret (Lily Rabe) who was sorely neglected as a result of her parents' careers and wonders why her mother keeps wanting to spend time with her now. But Lillian can't bring herself to tell her daughter the truth and, of course, this does not bode well. 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