#richard ouzounian

[tayryn]

Very cool!

New stamp pays tribute to legendary actor Christopher Plummer

October 13, 2021

The stage and screen actor played a leading role in selecting the stamp that celebrates his 70-year career

With the release of our latest commemorative stamp, we are honoured to pay tribute to Christopher Plummer (1929-2021), one of the world’s most distinguished actors.

Over his incredible 70-year career, Mr. Plummer earned countless awards and honours, including a Golden Globe, BAFTA, SAG and Genie. He is among a select group of performers – and the only Canadian – to achieve the triple crown of acting, in his case, two Emmys, two Tonys and an Academy Award.

He was appointed a Companion of the Order of Canada and a recipient of a Governor General’s Performing Arts Award for Lifetime Achievement Award. He was inducted into both Canada’s Walk of Fame and the Theater Hall of Fame (U.S.), and received a number of honorary doctorates, including from McGill University, the University of Toronto and New York’s Juilliard School.

By critics, colleagues and fans, he’s been described as brilliant, wise and irreplaceable.

Mr. Plummer, who was born in Toronto and raised mostly in Montreal, helped choose the roles he wished to feature on the stamp. This was no easy task.

The actor had appeared in more than 200 films, television movies and mini-series, and captivated theatre audiences from Broadway to the Stratford Festival, where he made his debut in 1956.

The praise he received from his on-stage Shakespearian and classical roles, including Hamlet, Macbeth and Julius Caesar, distinguished Mr. Plummer among his peers – as did the trajectory of his career.

While most actors slow down in their golden years, Mr. Plummer did the opposite. He embraced his age, taking on a number of acclaimed roles, and giving some of his most memorable performances.

In 2010, at the age of 80, he was nominated for his first Academy Award for his supporting actor performance as Leo Tolstoy in The Last Station. In 2012, he won his first Oscar for his supporting role in Beginners, in which he played a 75-year-old with terminal cancer who comes out as gay after the death of his wife.

He showcased his famous wit and impish charm as he accepted the Oscar statue to a standing ovation: “You’re only two years older than me, darling. Where have you been all my life?”

He would amaze audiences for nearly a decade more, snagging notable roles in films such as All the Money in the World (2017) and the surprise hit Knives Out (2019), which grossed more than $310 million worldwide.

The Christopher Plummer stamp:

When Canada Post first approached Plummer in 2019, he was thrilled at the prospect of being featured on a Canadian stamp. He was consulted in the process from the very beginning and helped choose the five roles that appear on the stamp to represent his much loved and celebrated career.

Captain von Trapp in The Sound of Music: His role in the 1965 movie brought him fame on the big screen, and a lifelong friendship with co-star Julie Andrews.

Rudyard Kipling in The Man Who Would Be King: He appeared in the 1975 adventure film alongside Sean Connery and Michael Caine.

John Barrymore in Barrymore: After nearly 30 years away from the Stratford stage, he returned in 1996 to play the role that would earn him his second Tony – he took home his first in 1974 for his performance as Cyrano de Bergerac in the musical Cyrano. Mr. Plummer later reprised the Barrymore role for the 2011 Canadian film adaptation.

King Lear in King Lear: There were plans for Mr. Plummer, who portrayed the lead role in the 2002 Stratford production, to star in a big-screen adaptation that was to begin shooting in Newfoundland this past summer.

Prospero in The Tempest: The highly anticipated 2010 play did not disappoint, as Richard Ouzounian, then theatre critic for the Toronto Star, wrote of his performance: “This is probably the funniest production of The Tempest you will ever see … because Plummer sees the wit in Shakespeare like no one else and inspires everyone around him to think that way.”

Behind these images, the stamp further pays tribute to Mr. Plummer’s unique talent with a moody, tempestuous background that symbolizes the drama he brought to the stage and screen, which we hope audiences will continue to discover for generations to come.

On Feb 5, 2021, at the age of 91, Christopher Plummer passed away at his Weston, Connecticut home.

[peachandpineapple]

Cirque du Soleil will return to Australia from October this year with its most acclaimed touring show, KURIOS – Cabinet of Curiosities™.  KURIOS will premiere under their Signature Big Top on 2 October 2019 in Sydney at Entertainment Quarter, Moore Park.  

Written and directed by Michel Laprise, KURIOS – Cabinet of Curiosities is a tale in which time comes to a complete stop, transporting the audience inside a fantasy world where everything is possible.  In this realm set in the latter half of the nineteenth century, reality is quite relative indeed as our perception of it is utterly transformed.

Tickets for Sydney, Brisbane and Melbourne are available for purchase to the general public beginning Monday 18 March at 9am by visiting cirquedusoleil.com/kurios or by calling 1800 036 685.  Pre-sale waitlists for Adelaide and Perth will begin accepting registrations on Monday 18 March at 9am by visiting cirquedusoleil.com/kurios.

KURIOS – Cabinet of Curiosities had its world premiere in Montréal April 2014 and since its debut, the critics have been raving across North America: “It is not to be missed on any account,” said Chris Jones in The Chicago Tribune.  “KURIOS is the most enthralling, consistently over-the-top magical show Cirque du Soleil has sent our way in a long time,” raved Robert Hurwitt in The San Francisco Chronicle.  “KURIOS is the most joyous piece of theatre I’ve seen in years and it will lift your spirits to the stars,” said Richard Ouzounian in The Toronto Star.  And Misha Berson in The Seattle Times raved, “KURIOS thrills in a splendidly captivating new show.”  The Los Angeles Times made it a Critic’s Choice.

KURIOS is Cirque du Soleil’s 35th production since 1984.  The newest big top production to tour Australia arrives with a cast of 47 artists from 17 countries including world-class gymnasts, acrobats, contortionists, hand-puppeteers, yo-yo wizards, clowns, actors and musicians.

Perth - Register for Priority Waitlist from 18 March

cirquedusoleil.com/kurios

[nightmare-afton-cosplay]

‘Real Housewives’ Star Teddi Mellencamp Shows Off Her New Encino Home

realtor.com, Gary Gershoff/Getty Images

Perhaps they’ll need to rename the “Real Housewives of Beverly Hills”?

Cast member Teddi Mellencamp has made the move over the hill to Encino, CA, with a luxurious new home that she and her husband, Edwin Arroyave, showed off on a tour posted to social media.

Teddi and Edwin are moving to a new house! Looks very similar to Pump Rules kids and Dorit’s #RHOBH pic.twitter.com/D9HXdSb2Fu

— Queens of Bravo (@queensofbravo) August 16, 2020

Mellencamp follows in the footsteps of her castmates Kyle Richards and Dorit Kemsley, who have also decamped to the valley.

Before they bought the Encino house, Mellencamp and her husband switched up their living situation last year. They upgraded to a larger abode in the Hollywood Hills, and placed their previous home in the same neighborhood on the market.

The “Housewives” star introduced that swanky pad with killer views last year to fans in a video on Bravo TV. 

This past weekend, Mellencamp announced that the family has made an even bigger move, and gone into escrow on the $6.49 million Encino home, said to be located minutes from her castmates.  

The brand-new digs promise more outdoor space, which may be the clincher, now that the couple have just welcomed their third child. 

Dining area in home in Encino, CA

realtor.com

Game room

realtor.com

Kitchen with double islands

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Wine storage and bar

realtor.com

Home theater

realtor.com

Family room opening to outdoor space

realtor.com

Pool and waterfall

realtor.com

Built in the oh-so-trendy modern farmhouse style, the gated, private property offers endless options for recreation, with almost a half-acre of “backyard oasis.” This includes a pool with a waterfall, spa, cabana, putting green, and sport court.  Plenty of outdoor spots are available to lounge, cook, and dine outside.

The footprint of the new home is substantial, with seven bedrooms and 7.5 baths on 8,550 square feet.

Built for entertaining, the home offers diversions for the whole family, with a game room, a family room that completely opens to the outside patio, and a huge home theater with a popcorn machine. 

Inside, the palatial place includes 24-foot ceilings in the entry hall. The interiors have wide-plank oak floors, and a living area with a bar and wine room. The open kitchen boasts quartz counters, two islands, a walk-in pantry, Sub-Zero appliances, and a prep kitchen.

The swanky master suite features a sitting room, built-in bar with fridge, walk-in closet, soaking tub, and terrace.

Meanwhile, the home comes with all the modern amenities, such as surround sound, a Control4 Home Automation system, and three-car garage. We didn’t spy an actual gym, so Teddi will need to figure out where to park her Peloton. 

The “coveted” neighborhood is convenient to the shops and restaurants of Ventura Boulevard. The property is also close to freeway access to the West Side, should any of these former Beverly Hills residents have a desire to shop on Rodeo Drive. 

By the way, the couple’s Hollywood Hills property is still available. It’s been relisted for $2.95 million, down from the $3.2 million they were asking for over a year ago. 

George Ouzounian with The Agency holds the listing.

The post ‘Real Housewives’ Star Teddi Mellencamp Shows Off Her New Encino Home appeared first on Real Estate News & Insights | realtor.com®.

from https://www.realtor.com/news/celebrity-real-estate/teddi-mellencamp-shows-off-new-encino-home/

[tupiniquimblogcultural-blog]

"Amaluna levará seu espírito a níveis elevados e seu coração a lugares que ele nunca viu antes" Richard Ouzounian, Toronto Star. Em cartaz apenas até 21/01 no Parque Olímpico! @amalunabrasil Estreou em Montreal em 2012 e desde então já passou por 30 cidades de 10 países e foi visto por mais de 4 milhões de espectadores. Tupiniquim recomenda a última oportunidade! #tupiniquimblogcultural #tupiniquimrecomenda #amalunacirquedusoleil #cirquedusoleil #cirquedusoleilbrasil #amaluna #parqueolimpico #cultura #teatro #espetáculo #show #arte #artecirquense #entretenimiento #entretenimento #entertainment #rj #riodejaneiro (em Amaluna - Cirque du Soleil)

[invisiblevoices-sound]

A groupwork / soundwalk co-led by Silvia Maglioni & Graeme Thomson, Richard Sennett, John Bingham-Hall, Gascia Ouzounian, Matthieu Saladin.

Part of the Atelier Theatrum Mundi series of workshops under the Global Cities chair at Collège d’études mondiales, FMSH, and in the context of Silvia Maglioni & Graeme Thomson’s Centre for Language Unlearning (Residency common infra/ctions) at Les Laboratoires d’Aubervilliers.

Unlearning Listening proposes a reflection on how our way of listening affects our understanding of the surrounding environment and how we navigate it.

Unlearning listening can be read in two ways. Firstly, as unlearning a prevalent mode of listening, which normally focuses on what is clearest and closest to our concerns and sensibilities, or things we have been trained to consider important or relevant, and filters out what doesn’t accord with them. Secondly, unlearing bylistening, engaging in a more general undoing of coded reflexes by practising forms of listening that are multiple, fragmentary, dispersed and that may tend towards what is inaudible, unknown, out of focus, out of view: idiorrhythmic edges of perception that can open our ears and minds to a disorientation of self-certainty, as well as a more complex sense of the world we share and of our relationship to different forms of otherness.

The afternoon will consist of 3 interconnected movements.

A) We will start with a reading group and discussion, focusing on questions such as unlearning listening habits, idiorrthymic listening, liminal and edge space, minor acoustics and active listening. This will be mainly in English, but with the possibility of other languages coming into dialogue.

B) In the second part of the afternoon, we will make a soundwalk in Aubervilliers, in the area around Les Laboratoires, for which we will provide a map. The idea is that each of us take a different route to record a sonic portrait of the area, which is currently undergoing profound urban and social transformation. We will try to think about the ways in which sound may reveal, conceal or modulate these dynamics and tensions, and also how they may open up possible lines of resistance and fabulation. Other points of reflection we would like to address: how do we record what is not there, what has been suppressed or forgotten, what is revealed by silences and absences? What are the implications of the way we frame recordings (i.e. of what we bring to the foreground/background, whether we focus on detail or plan?) We’re also interested in learning/unlearning from forms such as music, cinema, video and architecture, and how they lead the ear and the eye to certain priorities.

C) Following the walk, we will gather again at Les Laboratoires for tea and biscuits, and for a chance to discuss and compare our approaches during the walk, our different experiences, and possible ways to develop and continue this sonic exploration.

https://theatrum-mundi.org/programme/unlearning-listening/

[world-theatres]

Carrie, the musical

Carrie, the musical at Hart House, directed by Richard Ouzounian, based on the Stephen King novel, was a big broadway flop in 1988, closing after 5 performances and 16 previews, even with the likes of Betty Buckley as Margaret White, and the 2012 revival, with Marrin Mazzie as Margaret, did not fare much better with only 46 performances. To me this is all the more reason to see a show, as many times the flops like Spiderman, which we loved, Rocky Horror Show, again a most enjoyable show, Here's Where I Belong (musical, 1968 based on Steinbeck's East of Eden) only 1 performance, with Walter McGinn, Paul Rogers, James Coco, and Heather MacRae which again, I loved, and Marilyn with Alyson Reed and Scott Bacula, 1983, again to me a most enjoyable musical with only 17 performances, and Anyone Can Whistle, 1964 with Angela Lansbury and Lee Remick, with 9 performances, and we got to see this in Barrie, directed again by Richard Ouzounian, and found to be a most charming musical. Other great flops over the years, have included Kelly (1965), Breakfast at Tiffany's (1966), which we saw in Boston when it was called Holly Golightly, with Mary Tyler Moore and Richard Chamberlain, to us the downfall was Richard Chamberlain.  Via Galactica, music by Galt McDermott of Hair fame (1972), Bring Back Birdie a sequel to Bye Bye Birdie which was a hit (1981), Into the Light (1986), Civil War (1999), Taboo (2003). But some shows, in spite of much reworking and rewriting just do not make it, and Carrie is indeed one of those. In spite of two strong singing voices (Tiyana Scott as Carrie White, and Brittany Miranda as Margaret White), the show just does not work. This production in particular came off very amateurish, not the level one expects from a University performance. The show cost over 8M to mount which in 1988 was a lot of money, and one wonders just where the funding could have gone.

[existimatum]

Richard Ouzounian’s “Review: Romeo and Juliet…” Forgets It’s a Movie

★★★⅛☆

3.08 stars for Richard Ouzounian’s 504‑word review of ��Romeo and Juliet” on Toronto Star

http://www.thestar.com/entertainment/movies/2013/10/10/review_romeo_and_juliet_movie_remembers_plot_forgets_shakespeare.html#

Richard Ouzounian’s “ Review: Romeo and Juliet movie remembers plot, forgets Shakespeare” attempts to redress the errors of not just movies, but Shakespeare, in a review that is both loud and empty at the same time.  

First, the film makes the catastrophic mistake of throwing out 98% of the play.  

Second, Ouzounian takes Shakespeare to task for writing a bad plot, which one suspects is at least 50% of the story. Apparently, the play, for Ouzounian, is one of dialogue alone. The fact that the political and family intrigue, which Ouzounian forgets, give the words and characters their meaning (without that plot there is no tragic romance,) is beside the point.  

With this rather absurdest form of quantitative analysis, Ouzounian then disdains what’s left of the film based on the inadequate play which, according to him, should probably be 99% monologues or clever word play. If Shakespeare can’t be Shakespeare, then what hope does a film update have? Precious little. The usual bon mots about the Italian sets, and the pretty actors, and the period costumes rattle out with the usual flare of basic reviews.  

Where the review sparkles is, believe it or not, is in the comparative analysis for when the film butchers Shakespeare’s words (which, sadly, deal with character and plot!).  But one good comparative bit is not enough to sustain interest.

Buy Tickets: fandango.com/romeoandjuliet2013_164299

Original Post: e.xst.ma/tm/43W8

More Reviews: e.xst.ma/t/m/771246245

Rotten Tomatoes: rottentomatoes.com/m/771246245

IMDB: imdb.com/title/1645131

[ridethecyclone-blog]

"Stop waiting for the next big thing, Toronto, because it’s finally here.

Ride the Cyclone, which opened at Theatre Passe Muraille Monday night is not only as good as all the advance hype would lead you to believe, but it’s the most awe-inspiring, truly entertaining, heart-tugging, toe-tapping musical I’ve seen in years." - Richard Ouzounian, Toronto Star