Word: courtenay
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Dates: during 1980-1989
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Historically, the movie actors who have got the most out of acting gay have been those who have played camp roles. No one confused Robert Preston with his outrageous queen in Victor/Victoria, Tom Courtenay with his prissy, mincing backstage assistant in The Dresser, or William Hurt with his flamboyant spinner of dreams in Kiss of the Spider Woman. All three were thought to be brave, tour de force performances...
...style of musical that became the most popular form of theater in history but that no one seems willing or able to write anymore. The guts of the story, as in the first version, are plaintive solos for disillusioned women: Broadway Baby, in which an old show girl (Margaret Courtenay) recalls youthful struggles in a tinkly, ironic forerunner of A Chorus Line's What I Did for Love; Who's That Woman?, a realization by a brassy belter (Lynda Baron) of how age has crept up on her; Could I Leave You?, an outpouring of vitriol from a neglected wife...
...figures, $4.17 billion flowed into Spain during the first ten months of 1986, an increase of 115% over the same period in 1985. Two attractions: Spain's low labor costs, which run 15% less than the European average, and the country's large population of consumers (39 million). Says Courtenay Worthington, Citibank Espana's general manager: "Spain is becoming a magnet for foreign investment. Many companies are putting up money, and those that aren't are wondering if they should...
...Courtenay, of course, originated the role of Norman in the theater, and offers a perfectly polished version of it to such posterity as the film vaults grant. On its face his is a comic turn, an impersonation of a homosexual impersonating a nanny to a grownup child. But his mincing rage for order has deeper roots; this small and isolated backstage world has offered him, until Sir started disrupting it, an asylum from the larger world he could never manage. Subtle observation and marvelously controlled invention mark Courtenay's work...
...advised to stop short of his last-act fling at tragedy and rest on his strength, which is for comically melodramatic commentary on the vagaries and excesses of the theatrical life. Still, he has wisely turned his original vehicle from a unicycle into a bicycle built for two, and Courtenay and Finney give it a thrilling ride. -By Richard Schickel