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...name Twyla-curious, fanciful, perhaps not quite grownup. Or it may be her stage image as a witchy little jazzbo with a boxer's shuffle and a baseball pitcher's kick. For nearly two decades Twyla Tharp has gone about the business of being a choreographer, methodically building a first-rate company and a large, acclaimed body of work. But her reputation, at least outside serious dance circles, has lacked weight. She handles certain material, such as social dancing, pop songs and pop-up emotions, better than anyone else, in an idiom that seems delightfully impromptu and improper...

Author: /time Magazine | Title: Dance: Tharp Moves Out from Wingside | 2/13/1984 | See Source »

Hamilton still buys teeny shoes (size 51A) and clothes in boys' sizes, but his attitude toward his sport is grownup. "You live, you hope, for 100 years. You are only a top skater for ten. So that is the perspective." He knows that his insular, single-minded life has been severely Limiting...

Author: /time Magazine | Title: This One Figures To Be on Ice: Scott Hamilton | 1/30/1984 | See Source »

Fanny Ardant as his office helpmate is a wonder. Leggy and sensible, with a knowing yet modest air, she puts one in mind of a grownup Nancy Drew, though Nancy was never required to pose as a prostitute in order to crack a case. Ardant literally wears the trench coat in this picture, and dangerous activities come with the wardrobe. But a subtly knowing wit betokens pleasure in the ironies of role reversal...

Author: /time Magazine | Title: Cinema: Lady in the Dark | 1/30/1984 | See Source »

...steal every scene just by being in it. Petty and poetic, desperate and delightful, Conti's Gowan is the funniest portrayal of a down-on-his-art genius since Alec Guinness's Gulley Jimson in The Horse's Mouth. It is certainly reason enough for a grownup to go back to the movies again...

Author: /time Magazine | Title: Cinema: The Good Word | 1/2/1984 | See Source »

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...

Author: /time Magazine | Title: Cinema: Backstage as Blasted Heath | 12/12/1983 | See Source »

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