Divorce Attorney Fees

divorce attorney fees
    attorney fees
  • Attorney fees (note that the use of the word 'attorney' connotes lawyers broadly: solicitors and barristers) are the costs of legal representation that an attorney's client or a party to a lawsuit incurs.
  • fees possibly due during closing.
  • (WCB) Fees approved by the Board for claimant attorneys in workers' compensation cases. Under WCL .24, no claims for services or supplies are enforceable unless approved by the Board and, if approved, such claims become a lien upon the compensation awarded.
  • Distance or dissociate oneself from (something)
  • get a divorce; formally terminate a marriage; "The couple divorced after only 6 months"
  • Separate or dissociate (something) from something else
  • disassociate: part; cease or break association with; "She disassociated herself from the organization when she found out the identity of the president"
  • Legally dissolve one's marriage with (someone)
  • the legal dissolution of a marriage

Claude Rains
Claude Rains
Rains, (William) Claude (1889–1967), actor, was born on 10 November 1889 at 26 Tregothnan Road in Clapham, London, the son of Frederick William Rains and his wife, Emily Eliza Cox. The family was not well off; he was one of a dozen siblings, nine of whom died in infancy. Frederick Rains had tried his hand at various jobs, including boilermaker and boxing instructor. At the time of Claude's birth he gave his occupation as ‘Organ Builder (journeyman)’. Later in life he took up acting and film directing. About the age of ten Claude Rains was sent to a boarding-school in Parsons Green in south-west London. Because he was small in stature, with a stammer and an inability to pronounce his Rs, his classmates made fun of him, and at least once he ran away from school. He was happier singing in the local church choir, an occupation which led to his stage debut. A number of choristers were recruited to play street urchins in Sweet Nell of Old Drury, by Paul Kester, at the Theatre Royal, Haymarket. The play opened on 30 August 1900. Within a year Rains had persuaded his parents to let him quit school for the theatre, and was taken on as call-boy at the Duke of York's Theatre. He soon moved to His Majesty's Theatre, where he came under the wing of the actor–manager Sir Herbert Beerbohm Tree. As Tree's personal call-boy Rains had to prepare the great man's breakfast (including six plover's eggs) faultlessly each morning. ‘He often used to fire me, but I never went’, Rains recalled years later (Daily Herald, 3 April 1952). Noting Rains's eagerness to act, Tree helped him overcome his speech defects and lose his strong cockney accent. Promoted to assistant stage manager and prompter, Rains began to take bit parts on stage. In 1911–12 he toured Australia with Harley Granville Barker's company, and in 1914 Granville Barker entrusted him with taking the company on tour to the USA. The repertory included Bernard Shaw's Androcles and the Lion and Euripides' Iphigenia in Tauris. Rains took supporting roles in both, along with his managerial duties. Among the company was actress Isabel Esther Jeans (b. c.1891), whom Rains had married on 27 March 1913. The marriage ended in divorce about five years later. This was the first of Rains's six marriages, all of which (except the last) ended in divorce. His other wives were: the actress Marie Foster Hemingway (b. c.1893), whom he married on 20 December 1920; a drama student, Beatrix Lindsay Thomson (b. c.1900), whom he married on 24 November 1924 (they divorced on 8 April 1935); Frances Propper (b. c.1910), whom he married on 9 April 1935 and with whom he had a daughter, Jennifer, in 1938, but whom he divorced about 1956; the Hungarian pianist Agi Jambor (b. c.1909), whom he married on 4 November 1959 and divorced on 29 July 1960; and the writer Rosemary Clark Schrode, nee McGroarty (b. 1915/16), whom he married in August 1960 and who died in 1964. By all accounts Rains was not the easiest man to live with. His fifth wife, Agi Jambor, who divorced him after some nine months of marriage, claimed that he was ‘vile and nasty’ to her, that he kept her short of money and locked her out of the house. Against this, his daughter described him as ‘loving, kind, and proud’, though she added that he was ‘frugal to a fault’ (Soister and Wioskowski, 1–2). Rains's stage appearances were starting to attract favourable notice when his career was interrupted by the war. On returning to Britain in 1915, he joined the London Scottish regiment—mainly, he later claimed, on account of their romantic kilts. He served in the trenches, and in 1917 suffered a poison gas attack at Vimy Ridge which damaged his vocal cords and cost him almost all the sight of his right eye. Having recuperated, he resumed his acting career in 1919, when he joined Henry Ainley's company at the St James Theatre. It was with Ainley that he made his first venture into cinema, eighth-billed in a now long-forgotten melodrama called Build Thy House (1920), directed by Fred Goodwins. Ainley took the lead role. During the 1920s Rains built an impressive reputation as a stage actor, making up for his lack of physical stature (he was 5 feet 6 inches tall) with a commanding presence and a rich throaty voice that one critic described as ‘like honey with some gravel in it’ (Shipman, 451). He scored his first post-war success with the lead role in Reparation (1919), adapted from Tolstoy. Further critically acclaimed performances followed: as Cassius in Julius Caesar (1920), his only stage Shakespeare; in Gogol's The Government Inspector (1921); in the title role in Louis Verneuil's Daniel (1921), a part created for the seventy-year-old Sarah Bernhardt en travesti; in Clemence Dane's A Bill of Divorcement and Will Shakespeare (both 1921); as a sinister butler in the rip-roaring Gothic melodrama The Bat (1922); and in Karel Capek's The Insect Play (1923). Also in 1923 he played the lead in Bernard Shaw's The Doctor's Dilemma, which he followed

divorce attorney fees