File image by Justin Gould/WNYNewsNow.JAMESTOWN – For their performances in their series against the New Jersey Titans, Rebels winger Liam Hansson was named the NAHL’s Eastern Division Second Star of the Week and goaltender Noah West was given an honorable mention on Tuesday. Hansson finished the two game series vs. the Titans with six points.In Friday’s game, Hansson scored two goals and added two assists in Jamestown’s 5-2 victory. In game number two Saturday, Hansson tallied a pair of assists which helped the Rebels walk out with a 5-3 win.This season in 43 games played, the Bergen, Norway native has scored eight goals and has 28 points. Between the pipes for both games of the series, West posted a 0.944 save percentage, finishing with 84 saves on 89 shots faced. So far this season, the Roberts Wesleyan committed athlete is 14-21-0-1 in 37 games. West is allowing 2.60 goals per game, has a 0.919 save percentage and has posted a pair of shutout victories for Jamestown.The Rebels will return to action on Friday night at 7 p.m., in which they will be on the road to take on the Maryland Black Bears, who are currently holding the final playoff spot in the East.Jamestown will go into that series in fifth-place in the Eastern Division. Share:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to email this to a friend (Opens in new window)
After Midnight Related Shows Show Closed This production ended its run on June 29, 2014 Christopher Jackson Star Files View Comments Harlem’s hottest nightclub is about to get hotter. Christopher Jackson will join the cast of After Midnight from April 5 through 20 at the Brooks Atkinson Theatre. Jackson will take over for Everett Bradley, who will join Meredith Viera’s upcoming talk show as the bandleader, according to TV Guide. Jackson appeared in the Encores! production of the musical, which was it was called Cotton Club Parade at that time.Jackson most recently appeared on Broadway in Bronx Bombers as Derek Jeter and Bobby Sturges. He also originated the role of Benny in In the Heights. His additional Broadway credits include Memphis and The Lion King.Set against a narrative of Langston Hughes’ poetry, After Midnight celebrates Duke Ellington’s years at Harlem’s famed Cotton Club using his original arrangements and performed by a world-class big band of 17 musicians. The production is directed and choreographed by Warren Carlyle and currently features special guest star Vanessa Williams, Dulé Hill and Adriane Lenox.
A Month in the Country follows Natalya, a bored housewife of an 1840s Russian estate who falls for Aleksei, a young student who arrives to tutor her son. Her newfound affection puts her in a rivalry with her foster daughter. Oscar winner Nicole Kidman is in talks to return to the West End stage…not once, but twice! The actress revealed to The Daily Mail that she intends to star in a London production of Ivan Turgenev’s A Month in the Country adapted by Patrick Marber. Ian Rickson, who would direct the production, hopes to put the play on its feet at some point in 2015. Kidman starred in the West End previously in The Blue Room in 1998. Later that year, she reprised her performance on Broadway. She won an Oscar for her performance in The Hours and received nods for Rabbit Hole and Moulin Rouge!. Her additional film credits include Far and Away, Cold Mountain and the film adaptation of the musical Nine. In 2012, Kidman was in talks to return to Broadway in After the Dance, though plans were eventually cancelled. The film star also revealed that the negotiations in progress would have her star in two plays back-to-back (the second title unreported). “I don’t know how it’s going to work yet,” she said, “but yes, that’s the idea. Two in a row.” Kidman went on to say, “I see so many plays in London, Sydney and New York, and I’m mindful that it’s been a long time…but I’m determined to make at least one of the proposals work.” View Comments
We’re gonna be honest: Things around the Broadway.com offices have gotten really boring the last few weeks. It’s sweltering, it’s humid, and worst of all, no new Broadway shows open until after Labor Day. But never fear, dear readers, we’ve got a great way to spice up the month of August: Broadway.com Summer Camp! Each day for 31 days, we’re highlighting the campiest, craziest, wildest—and did we mention campiest?—videos we can find. Put on your gaudy bathing suit and dive in! MOST GIF-ABLE MOMENT OVERALL CAMP FACTOR 9 out of 10 worst pies in London. God, that’s good. View Comments LOOK OUT FOR… 1:25. If there’s anything that can upstage a Sweeney Todd tap dance, it’s a horrifying Easter bunny and a demon pizza baby. Obviously. WHY WE LOVE IT Before these two visionaries (Emily Cara Portune and Ryan Malyar) even begin to hoof, we’re treated to the fabulousness that is their gold and turquoise ensemble. But really, nothing says “murderous barber” like shuffle-ball-changes, paradiddles and ill-conceived leg lifts. And it’s not just a dance routine. It’s full-on performance art. After wowing us with their moves, they proceed to salt and pepper a giant construction paper egg and lick it. Maybe it’s a metaphor for the show’s portrayal of revenge and government corruption? Yeah, probably that.
Do you think Aladdin is West End-bound? Apparently. I’m sure they’ll bring it to London because it does look like a big hit on Broadway. There’s a rumor that you’d like to do a show about the life of Machiavelli. Is it on the cards after FHTE? I’ve actually written a complete treatment of it so that may happen. It might even be a play. So the plan now for FHTE is to take it to America next year “out of town” and then maybe bring it to Broadway? I think your timetable is a bit optimistic! But there’s lots of interest in America and I’m confident that we can get a production going in the States, where the whole story has a resonance. I think the key thing is, if, and it’s a big if, we can find a director that we’re really happy with, to do it for the American market. What do you make of London’s West End suddenly looking like the 1980s again? You’ve got Evita, Saigon, Les Miz and Phantom all running and Cats is returning soon. I think it’s rather depressing, really. It’s nice that some of these classic shows come back, but it’s strange when you think you bust your guts for two years on FHTE and then without any effort at all you get Evita running in London and Aladdin coming on in New York, and you think, “Why do I bother?” But it’s good in the sense that obviously they’re good shows and that there’s an audience for them, but we’ve got to get some good new ones! You’ve done this beautifully shot filmed version of FHTE—are you hoping for the show to have a life beyond London? Fathom and Omniverse wanted to [film] it, they’ve done it and they’ve done a very good job of it. It is a good production, it just isn’t quite right, but we were able to make some edits in the film which were hard to do in the stage version and so I think it is a very useful calling card for the show. I’m delighted that it’s being shown in American cinemas. Do you really use your three Oscars as candlesticks for cricket dinners? They live in Cornwall and the only time I ever get them out is to put them on the table at the cricket dinner and they look like candlesticks, but the first time I did it nobody noticed them until the coffee course! There are a lot of shows now being filmed—do you think it’s a good thing? I’m very happy about it. I think if a production is a hit, particularly, then I think it’s good that there’s a record of it. And I’m pleased for Stuart that there is a really good film of the show that we did. FHTE hasn’t been a big hit, but it got quite good reviews and one or two very good ones. I think if nothing else happened I would be glad that the film’s there so that one day, someone might say: “hang on, something is there.” Elton John’s production company is making the Joseph movie—was it you that put everyone together? No, I didn’t have anything to do with putting people together. At least I don’t think I did. Elton rang up and said that he was thrilled that his company were doing it, but I don’t think he’s going to be particularly involved. Maybe he’ll take a part, actually! What sort of stage is the Joseph movie at? We had the first meeting about it last week and it’s the very early days. Matt Lucas is doing a screenplay. Obviously if there are any new songs then Andrew and I will write them. You’re Sir Tim Rice. You can work on any project you want. Why From Here to Eternity (FHTE)? Well, really because of a young man called Stuart Brayson, who I’ve been keeping tabs on for literally 20 years. He sent me tons of musicals, one or two of which he got on, but there was nothing that I really thought could conquer the world until he came up with FHTE. And to be brutally frank, that may not conquer the world. Everybody put their heart and soul into it, but I think there are things that we all got wrong, which if we’d had the luxury of an out-of-town show we could have made better. It went very well in rehearsals, everybody loved it—we just didn’t sell enough tickets. Congratulations on the recent milestone with The Lion King! With that show and of course all of your other successes, did you feel a pressure working on FHTE? Absolutely not at all. Regards Lion King, it was a great Disney thing which I was lucky enough to be involved with from the start and it’s just very nice to have happen. I think Elton and I made quite a bit of a contribution, particularly to the movie, but these things take off and have a life of their own. Tim Rice’s West End production of From Here to Eternity is hitting the big screen October 2, 5 and 9, making its debut in movie theaters throughout the U.S. Although the tuner, adapted from James Jones’ 1951 WW2 classic novel, with lyrics by Rice, music by Stuart Brayson and a book by Bill Oakes, had a short-lived London run, the legendary lyricist has hopes that it will have a new life in America. Since 1965 Rice has worked extensively with Andrew Lloyd Webber, Disney and Elton John and his many credits include Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, Evita, Chess, Aladdin, Beauty and the Beast, Aida and The Lion King. The Tony, Oscar and Grammy-winning, cricket-loving Brit talked to Broadway.com about his projects, past, present and future. See From Here to Eternity on the big screen throughout the U.S. October 2, 5 and 9. View Comments
View Comments We’re counting down the days until Peter Pan Live! airs on NBC, and these gorgeous photos of stars Allison Williams, Christopher Walken, Christian Borle and the dastardly (err, drunk?) crew of pirates are definitely making the wait much more bearable! We can’t wait to see these gorgeous sets and costumes live on TV…and tweet incessantly about them all night long, of course. Check out these preview shots of the new musical, then see Peter Pan Live! December 4.
View Comments We now know who we’ll be watching when 1984 returns to London’s Playhouse Theatre this summer. The cast will include Stephen Fewell, who will reprise his role of Charrington, under the direction of Robert Icke and Duncan Macmillan. Based on George Orwell’s classic 1949 novel, the production will begin previews on June 12 and play a limited engagement through September 5. Opening night is set for June 18.All the company members are returning to the show, having previously appeared in the touring, Almeida or West End productions. Joining Fewell in the cast will be Simon Coates as Parsons (from June 29), Tim Dutton as O’Brien, Janine Harouni as Julia (until July 25), Christopher Patrick Nolan as Martin, Ben Porter as Syme, Matthew Spencer as Winston, Gavin Spokes as Parsons (until June 27), Mandi Symonds as Mrs. Parsons and Hara Yannas as Julia (from July 27).April, 1984. 13:00. Comrade 6079, Winston Smith, thinks a thought, starts a diary, and falls in love. But Big Brother is always watching.
View Comments Related Shows Santasia: A Holiday Comedy Show Closed This production ended its run on Dec. 23, 2015 Santasia: A Holiday Comedy, L.A.’s long-running yuletide send-up of celebrity culture, is heading to the Big Apple! Tickets are now available for the show, which will run November 17 through December 23 at St. Luke’s Theatre. Opening night is set for December 1.Created by brothers Shaun and Brandon Loeser and directed by Tania Pearson-Loeser, Santasia is jam packed with a biting blend of yuletide snark and sentiment. Stocking stuffed with everything from dysfunctional family sketches to charm, wit, love and beautiful sentiment, it conjures up memories of your own Christmas past.Santasia is appropriate for children ages 13 and over due to strong language. Children under the age of 4 are not permitted in the theatre.
Darren Criss View Comments Darren Criss(Photo: Bruce Glikas) Star Files Darren Criss is heading back to the small screen in the previously announced two-part musical crossover between Supergirl and The Flash, TVLine reports. The Broadway.com Audience Choice Award winner will reunite with Glee co-stars Melissa Benoist and Grant Gustin on the broadcast, which is set to air in two parts on March 20 and 21 on The CW. But spoiler alert: Criss will be playing the villain.The Elsie Fest host will take on the role of the Big Mad Musical Meister, and we’re excited to see what Criss brings to the dark side. He joins a cast that also includes Jeremy Jordan, Jesse L. Martin, Victor Garber, Carlos Valdes and John Barrowman.Criss most recently hosted NBC’s Hairspray Live! and headlined the national tour of Hedwig and the Angry Inch. He became an instant TV star after debuting as openly gay student Blaine on the second season of Glee. Criss made his Broadway debut as J. Pierrepont Finch in How to Succeed in Business Without Really Trying. Criss played Hedwig on Broadway for 12 weeks in 2015.
“As a result, they’re seeking ways to protect themselves against a drop in market prices,”he said. “Put options give them the ability to manage their price risk.” “First,” he said, “farmers no longer have the target price-deficiency payment subsidysystem they had under previous farm programs.” “A put option is one of a toolbox full of marketing techniques that can be used,” he said.”It should definitely be a part of a farmer’s marketing plan.” Agricultural commodity options, he said, are agreements that guarantee the option buyerthe right to buy or sell a commodity for a certain price. “If you insure a car, you’re protecting it against potential damage,” said GeorgeShumaker, an economist with the University of Georgia Extension Service. In the first year under the new federal farm bill, farmers are buying put options more thanever, Shumaker said. He cites two main factors that figure in the trend. The trend to greater use of put options is a sound one for Georgia farmers, he said. Under the old programs, he said, subsidies would kick in if the market price for a cropfell below a certain target price. In effect, the system set a minimum price growers knewthey could get for their crops. Radical changes in federal farm programs have led farmers in Georgia and elsewhere tobuy a lot more insurance these days. Not on their tractors, or even their crops. They’reinsuring the prices they get for their crops. Under past farm programs, he said, farmers had to participate in acreage restrictionprograms to be eligible for subsidy payments. With the new farm bill, though, they’refree to plant whatever they want. So the supply of farm commodities is open to muchwider fluctuations. * Cash forward contracts, which set a fixed price a farmer will get for his crop. “The second factor,” he said, “is the likelihood of greater price fluctuations as a result ofthe removal of federal supply controls.” “They saw corn prices at $5 a bushel in May and June,” Shumaker said. “By Decemberthe price was down to $2.50 a bushel. And wheat prices went from around $7 a bushel toless than $3.” “Now, though, their income is dependent on market prices, not on subsidy levels,”Shumaker said. If farmers weren’t convinced of the value of put options before, they probably becamebelievers by the end of 1996. A “call” option fixes the maximum price the option holder will have to pay for a crop. A”put” option sets the minimum price he will get for his crop. “A price is ‘damaged’ if it drops,” he said. “When farmers buy options, they’re justbuying insurance to protect them against a drop in prices.” But it should never be the only part, he said. Among other things, Shumaker urgesgrowers to use: “Before, farmers were buffered by the actions of the federal government,” Shumaker said.”Now they will feel the brunt of market price swings. * Basis contracts, which lock in the relationship between local cash markets and futuresmarkets. “These should be used in conjunction with put options, which are based onfutures markets,” he said.