Age: 46
female
Mary Rose Byrne (born 24 July 1979) is an Australian actress. She made her screen debut in the film Dallas Doll (1994), and continued to act in Australian film and television throughout the 1990s. She obtained her first leading film role in The Goddess of 1967 (2000), which brought her the Volpi Cup for Best Actress and made the transition to Hollywood in the small role of Dormé in Star Wars: Episode II – Attack of the Clones (2002), followed by larger parts in Troy (2004), 28 Weeks Later (2007), and Knowing (2009). Byrne appeared as Ellen Parsons in the legal thriller series Damages (2007–2012), which earned her two Golden Globe Awards nominations and two Primetime Emmy Award nominations. Get Him to the Greek (2010) and Bridesmaids (2011) established her as a comedic actress, in addition to the dramas and thrillers in which she continues to appear. She has since starred in a number of commercially successful comedies and dramas, including Insidious (2010) and its sequel Insidious: Chapter 2 (2013), X-Men: First Class (2011) and its sequel X-Men: Apocalypse (2016), Annie (2014), as well as Peter Rabbit (2018) and its sequel Peter Rabbit 2: The Runaway (2021). Byrne also portrayed Gloria Steinem in the miniseries Mrs. America (2020) and led the comedy series Physical (2021–2023) and Platonic (2023). Byrne has been in relationship with American actor Bobby Cannavale since 2012 and they have two sons. And she is the sister-in-law of New Zealand actress Rose McIver from her brother's marriage.
A propulsive and uncommonly wise novel about one unexpected wedding guest and the surprising people who help her start anew. It’s a beautiful day in Newport, Rhode Island, when Phoebe Stone arrives at the grand Cornwall Inn wearing a green dress and gold heels, not a bag in sight, alone. She's immediately mistaken by everyone in the lobby for one of the wedding people, but she’s actually the only guest at the Cornwall who isn’t here for the big event. Phoebe is here because she’s dreamed of coming for years—she hoped to shuck oysters and take sunset sails with her husband, only now she’s here without him, at rock bottom, and determined to have one last decadent splurge on herself. Meanwhile, the bride has accounted for every detail and every possible disaster the weekend might yield except for, well, Phoebe and Phoebe's plan—which makes it that much more surprising when the two women can’t stop confiding in each other. In turns absurdly funny and devastatingly tender, Alison Espach’s The Wedding People is ultimately an incredibly nuanced and resonant look at the winding paths we can take to places we never imagined—and the chance encounters it sometimes takes to reroute us.
