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) Photo: U3144362 / Wikipedia / CC BY-SA 4.0 JAMESTOWN – Americans are drinking their way through the Coronavirus pandemic.According to Nielsen, sales of booze jumped 55 percent in the third week of march compared to the same time last year. That was the week several states issued shelter in place orders.Millions of Americans began staying home. Bars and restaurants shut down, and drinkers stocked up, on alcohol, because lots of liquor and grocery stores stayed open.According to Nielsen, ready-to-drink cocktails like spiked lemonades or canned gin and tonics, grew the most, seeing a 106 percent jump in sales. However, alcohol sales could drop this month if there is a deeper recession.
Image by Justin Gould/WNYNewsNow.JAMESTOWN – The Chautauqua Area Regional Transit System (CARTS) will return to regular weekly service and schedules starting today.This includes all city and rural routes.“CARTS is excited to reinstate full weekday services for its public transportation system as the County is expected to go into Phase III,” said Brad Bentley, Director of Public Facilities for Chautauqua County. “Please remember facemasks or face coverings must be worn while on the CARTS bus as per the Governor’s executive order.”For more information or to schedule a trip, call CARTS at 1-800-388-6534, 716-665-6466 or 716-366-4500. You can also follow CARTS on Facebook at www.facebook.com/CARTS.NY. 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)
Get Fresh Air with Shakespeare Beginning June 3 at the Delacorte Theater Shakespeare in the Park is the NYC theatergoer’s ice cream truck: The start of summer’s good times—without the calories or sticky fingers. The cherished tradition begins with The Merchant of Venice alums Hamish Linklater and Lily Rabe trading verbal blows in Much Ado About Nothing. Bonus: three-time Tony winner Jack O’Brien directs the talented pair. Super bonus: the show is, as always, free! Eat Popcorn with Miss Daisy June 4 through June 10, check listings With unsupervised kids hopped up on soda and freedom, movie theaters can get scary. And those clip-on ties the ushers wear? Ugh. But tonight is different! The Australian stage production of Driving Miss Daisy starring stage and screen greats James Earl Jones and Angela Lansbury opens in more than 500 theaters in the U.S and Canada. Two legends in a Pulitzer-winning classic? Get to the googolplex early, buy some Milk Duds, and bring tissues. Click for tickets! Fall in Love with Justin Guarini June 2 at 54 Below We can’t talk about our love lives without sobbing and reaching for the ice cream…but not Justin Guarini! In Lovesick, he willingly dishes on “all the horrifying places love has taken him”—American Idol hotel rooms?—alongside a seven-piece band and two back-up singers. Expect to hear heartfelt, funny tales from the Broadway star (Wicked, Romeo and Juliet) and songs ranging from Burt Bacharach to Beck. Click for tickets! Sing Along with Idina Menzel In stores June 3 Let’s be honest. As much as you love Frozen, you’re getting a little bored of singing “Let it Go” into your hairbrush every morning. Well, here’s your chance to update your Idina Menzel repertoire! The cast album for If/Then—the lyrical and lovely musical starring Menzel, Anthony Rapp, and LaChanze— hits stores. Warning: Don’t actually sing like Menzel without professional supervision. Trust us on this. Holler For Tupac on Broadway Beginning June 2 at the Palace Theatre It’s finally happening: Tupac Shakur is getting the Broadway treatment. Holler if Ya Hear Me, which begins previews this week, uses the rap god’s poetic lyrics to tell a fictional story about two friends facing challenges in the inner city. Two rumors to squash: First, this musical is not about Shakur. Second, he’s not recording a posthumous album with Biggie Smalls and Amelia Earhart. That project wrapped up years ago. Click for tickets! Boy, the couch looks comfortable, doesn’t it? And the A.C.! That frosty temptress is purring like Eartha Kitt. But whatever you do, don’t succumb. There are too many fun things to do this week, such as the return of Shakespeare in the Park, the debut of a Tupac Shakur musical, and a movie event featuring two stage legends. It’s all part of this week’s must-see list! View Comments
The sailors of On the Town are back on the Great White Way, and they’ve got us in a New York state of mind. The Broadway.com office is frequently abuzz with showtunes (are we predictable?), so we wanted to know: which Great White Way tune celebrating the Big Apple is your favorite? The votes are in, and here’s what you had to say! 2. “New York, New York,” On the Town—17% It’s a helluva showstopper! A catchy Bernstein, Comden and Green tune is one thing. But throw in three men in uniform? Yes, please. We’re thrilled to have Gabey, Chip and Ozzie back on Broadway, and we’d be more than happy to point them to the Bronx, the Battery or anywhere in between. View Comments 1. “King of New York,” Newsies—24% The Act II opener from Alan Menken and Jack Feldman has it all: leaping over chairs, tap-dancing leading ladies and a bunch of lovable wet noodles. Who wouldn’t want to nob with all the muckety-mucks? Now, if only we could still feel like Big Apple royalty with a barbershop haircut that costs a quarter. 3. “NYC,” Annie—14% Sure, Depression era New York wasn’t entirely glitz and glam (thank you, Herbert Hoover). Still, as the Charles Strouse and Martin Charnin number says, no other town in the whole 48 (OK, 50) can half compare. Also, who doesn’t love a beltress storming center stage and marking her territory with an E flat?
The Last Ship Collin Kelly-Sordelet photographed by Caitlin McNaney for Broadway.com Age: “I’m 19, but I’ll be 20 on New Year’s Eve.”Hometown: Montclair, NJCurrent Role: Both a young version Gideon Fletcher, a man who leaves his seafaring town and returns 15 years later, and Gideon’s son Tom Dawson in Sting’s The Last Ship.Stage Cred: The Last Ship is Kelly-Sordelet’s first professional job, though in school he appeared in Guys and Dolls, Grease, Anything Goes, Aladdin, How to Succeed in Business Without Really Trying and Urinetown. “I knew how to make fake blood when I was five. My dad [Rick Sordelet] has been a fight director my entire life. I’d walk into my basement and there’d be medieval weapons all over. I’d open up the fridge to get juice, and I’m like, ‘Oh, hey! Eight gallons of fake blood.’”“The first show I remember seeing was Beauty and the Beast. It was magical and I loved it. It’s always been very close to me because it really launched my father’s career and I’m kind of here because of it.”“I auditioned for Glee and didn’t get it. Those bastards! But I’m OK. I made my peace with Glee. It was really eating at me for a long time. I auditioned a lot throughout my senior year of high school for Broadway stuff, television and film.”“I had to drop out of Juilliard. I did one semester. Right before I went on for my first and only show there, I found out that I got The Last Ship. I wanted to finish the entire year, but my last month of classes would have conflicted with my first month of rehearsal.”“Sting puts everyone at ease. He kind of floats around in his Sting-y manner. He took a bunch of pictures with my friends, and I said, ‘Thanks for being so cool.’ And he’s like, ‘Well, I find it so much easier to be cool than not to be cool.’ I was just like, ‘C’mon dude? Really?!’”“One of the greatest moments was when we were all leaving rehearsal with Sting. We’re in a cramped elevator—I’m literally inches away from him—and I said jokingly, ‘Sting, I’ve never been so close to you before,’ and he turns to me and goes, ‘Don’t stand so close to me.’ I was just like, “Ohh! I’ve just made history!’” View Comments Related Shows Show Closed This production ended its run on Jan. 24, 2015
Liza Learns About #ToplessTuesdayLiza and Kelsey meet up with Lauren for lunch. (Since when does Publishing Demon Trout allow lunch breaks?) Lauren then does what any driven millennial would do at the table: Take off her shirt for her 35,000 Twitter followers. “Breasts aren’t shameful. Ask Rihanna,” she says. The whole scene is just like that Sondheim ditty: “Here’s to the ladies who lunch—everybody strip!” Liza Learns About Lena DunhamSix skinny margaritas later, Liza meets Brooklyn-based hot tattoo artist Josh (Nico Tortorella), whose claim to fame is having “tattooed the insides of Lena Dunham’s ass cheeks” because “she wanted to keep some things private.” Not that Liza knows who Lena Dunham is. (She’s old, remember?!) Josh orders shots, sparks fly, Liza accidentally demands to see Josh’s junk. Nailed it. The Sutton Foster-led Younger premiered on TV Land on March 31 with two back-to-back episodes. In the half-hour comedy, the Tony winner plays Liza Miller, a 40-year-old newly single mother who passes herself off as 26 to resume her professional life. Along the way, she learns all sorts of tidbits that every 20-something should have on their radar. Here are just some of our favorite lessons that we learn with Liza in the first two episodes.EPISODE 1: PilotLiza Learns About Bang with FriendsWe first encounter 40-year-old Liza mid-job interview at a publishing firm. On cue, her significantly younger interviewers go off on a social media-fueled tangent, because they’re millennials. Facebook! Twitter! Instagram! Bang with Friends! We (Liza included) are then treated to a very work-appropriate story about Tinder and breast recognition. Welcome back to the working world, Liza! Liza Learns About Viral MarketingLiza, inspired by topless Lauren’s lunchtime reveal, convinces Trout to push the big Joyce Carol Oates release to a Tuesday. Because… #ToplessTuesday. Yep, after a half-naked photshoot in the middle of a crowded office and just a bit of internet magic, Liza has women from all over the globe showing off their Oates. Girl power! Literature! Boobs! Liza Learns About Ass ‘n’ TittiesDuring a meeting at the publishing firm, Liza’s phone goes off with a brand new ringtone: One that mentions two female body parts described in A Chorus Line’s “Dance: Ten; Looks: Three.” Her boss, Diana Trout (Miriam Shor), is disgusted; however, they’re all in a conference room discussing a Pride and Prejudice rerelease with what appears to be 50 Shades fan art on the cover. Mixed signals, Trout.EPISODE 2: Liza Sows Her OatesLiza Learns About the GridAt the start of episode two, Liza cements her place as a “millennial” and renounces her Gen X days. Unfortunately, her vision board looks like something out of a Lisa Frank psychological thriller. But hey, props for organization. With the help of an internet guru, Liza says goodbye to her 40-year-old web presence. She’s officially younger. Star Files View Comments Liza Learns About Booty CallsLiza, back to her 40-year-old self, goes on a blind date with an age-appropriate Chipotle investor. Mr. Chipotle Investor, despite contributing to literal Heaven on Earth, is a terrible human being. But after a flirty text from Josh, Liza forgets all about the burrito schmuck. She rushes to her hipster hottie in the heart of Williamsburg, just as all 26-year-olds do. She leaves him with just a kiss at his door—the rest (i.e. her Oates) is for a future episode.Younger airs Tuesdays at 10 PM on TV Land. Tune in to discover what Liza will learn next! Liza Learns About Her Lady GardenLiza gets a publishing job and quickly befriends co-worker Kelsey (Hilary Duff). But with the exception of Helen Mirren, no one can de-age 14 years without a hitch. Following a Krav Maga class with Kelsey and their friend Lauren, Liza unleashes her literally gasp-inducing nether region. Liza, in need of some consulting after her hairy situation, turns to Maggie. Maggie’s seen her “fair share” of vaginas. Maggie is a gynecologist. Just kidding. Maggie is a lesbian artist. Liza Learns About Harry StylesWith the help of her best friend Maggie (Debi Mazar), Liza concludes that the best way to resume her career is to tell potential employers she’s 26 (I-9s be damned). Cue montage, in which Liza develops those key features every 26-year-old has: highlights, a nose ring, a Gmail account and One Direction flashcards. (RIP Zayn. And Caesar?) Liza Learns About MouthgasmsWhile out on the town, cutie Josh brings Liza meatballs. This scene, aside from a potentially disastrous run-in with some of Liza’s adult friends, does little to advance the plot. But it does have Foster reach sexual climax while eating a meatball. Now it’ll be even harder to tell him that she’s been lying about her age (and her daughter and her alleged work in India) this whole time. Meatballs have that effect. Sutton Foster
Related Shows Amazing Grace View Comments As the saying goes, one door closes, another opens… Tom Hewitt, who starred in the recent short-lived production of Doctor Zhivago, has been tapped for the role of Captain Newton in Amazing Grace. Tickets are also now available for the musical, which will begin performances at Broadway’s Nederlander Theatre on June 25 under the direction of Gabriel Barre. Opening night is set for July 16.Hewitt received a Tony nod for The Rocky Horror Show; additional Great White Way credits include Jesus Christ Superstar, Chicago and The Lion King. Rounding out the company will be Leslie Becker (Bonnie & Clyde), Mike Evariste (Hair), Sean Ewing (West Side Story), Christopher Gurr (All the Way), Vince Oddo (Rocky), Oneika Phillips (Fela!), Clifton Samuels (Follies), Dan Sharkey (Bridges of Madison County), Bret Shuford (Little Mermaid), Charles E. Wallace (Miss Saigon), Hollie E. Wright (Hot Feet), with Sara Brophy, Rheaume Crenshaw, Miquel Edson, Savannah Frazier, Allen Kendall, Michael Dean Morgan, Gavriel Savit, Evan Alexander Smith, Uyoata Udi and Toni Elizabeth White making their Broadway debuts.They join the previously announced Josh Young, Erin Mackey, Chuck Cooper, Chris Hoch, Harriett D. Foy, Laiona Michelle, Rachael Ferrera and Elizabeth Ward Land in the cast.Featuring music and lyrics by Christopher Smith and a book by Smith and Arthur Giron, Amazing Grace is based on the true story behind the beloved song. A tale of romance, rebellion and redemption, the show follows one man whose incredible journey ignited a historic wave of change that gave birth to the abolitionist movement. John Newton (Young), a willful and musically talented young Englishman, faces a future as uncertain as the turning tide. Coming of age as Britain sits atop an international empire of slavery, he finds himself torn between following in the footsteps of his father—a slave trader—and embracing the more compassionate views of his childhood sweetheart (Mackey).Amazing Grace played a pre-Broadway engagement in Chicago in fall 2014, in which Hewitt also starred. Show Closed This production ended its run on Oct. 25, 2015
And that’s a wrap on the 2015 Tony Awards! It was a year of Fun, speeches full of tears and tap dancing, a moment with E.T. and—as always—tons of performances from nominated shows and beyond. Take a look at our recap below as we break down each of the musical moments, beginning with our favorites of the night. Agree? Disagree? Vote for your personal favorite in our poll! 13. FINDING NEVERLAND”Stronger”So much fog! So many close-ups! At the Lunt-Fontanne Theatre, this showstopper blows away audiences as a pirate ship is constructed from the orchestra pit, with swashbucklers miraculously avoiding whiplash. However, while Matthew Morrison sounded wonderful, the Tony performance didn’t convey the heart-stopping energy that this number oozes live. 4. THE KING & I”Getting to Know You”/”Something Wonderful”/”Shall We Dance?”Good for nominees Ken Watanabe and Ruthie Ann Miles being featured here, but when it comes down to it, this performance was all about (now Tony winner!) Kelli O’Hara’s quick-change choreography, or “dressography,” as we’re coining it: a 46-second transformation from schoolteacher to ballroom dancer extraordinare. And yes, we timed it. Special props for the cinematography here too, which even further accentuates the beauty of the dress. 7. ON THE TOWN”Lucky to Be Me”/”New York, New York”/”Times Square Ballet”Starting a number in the aisle and working toward the stage is a toss-up. Will audience members be game if you try to dance with them? Well, of course Chita Rivera will play along, and Rita Wilson’s grin as she gave a little twirl was infectious. And why yes, Anna Wintour will accept those flowers. The medley was a smart way to accomplish three things: Introduce your Tony-nominated star, throw in a familiar tune and show off lots of dancing with sweeping cameras. Check, check, check. View Comments 9. INTRODUCTION”Willkommen”/”It Takes Two”/”Popular”/et al.This was certainly twee, but it came off as a warm-up for the duo. Their introductory medley was far less flashier than previous opening numbers (they saved that, as they probably should have, for Something Rotten!.) Still, it was a great introduction to a more-than admirable hosting stint by Kristin Chenoweth and Alan Cumming. And we loved the little wink to the infectiously peppy “Popular” wearing off on Chenoweth. 6. ON THE TWENTIETH CENTURY”Life Is Like a Train”/”On the Twentieth Century”/”Babette”This medley was a bit all over the place. The four porters, after allegedly tapping the play-off music for Ruthie Ann Miles, kicked off the performance with a fun number that requires zero context, which was followed by a snippet of the titular ditty. Then came Chenoweth’s moment to shine with “Babette.” It took this number some time to find its footing after the two that preceded it. It wasn’t until after the ensemble came in that Chenoweth truly sparkled with her signature soprano. But once they got there, the vigor was inspiring. 11. TOMMY TUNE TRIBUTE”At the Grand Hotel” et al.This was adorable, but simply too short! We applaud the choice to showcase Tune’s legendary career with three quick takes on fun numbers from shows that may not be immediately identifiable to the viewing public: Grand Hotel, The Will Rogers Follies and My One and Only. We only wish the honoree would have joined in on the fun before presenting! 14. JERSEY BOYS”December, 1963 (Oh, What a Night)”We understand the decision to close on (yet another) note familiar to viewers. But in years past, hosts have spoiled us with original ways to recap the night. Neil Patrick Harris’ last-minute collaborations with Lin-Manuel Miranda immediately come to mind. Last year’s was simple; Hugh Jackman crooned “On Broadway” as the winners stormed the stage, but it at least featured members who made the night special. With ensemble members slowly assembling to sing with the Four Seasons, this felt like a wedding reception that went on a little too long. 3. AN AMERICAN IN PARIS”An American in Paris”/”‘S Wonderful”/”I Got Rhythm”An American in Paris nailed the medley format here. Show off some tunes people know and flaunt your greatest asset: stellar choreography. What gave this performance the leg up though was its integration of its design, which won awards for lighting and set design. As much of the production’s aesthetic is projection-based, its transition to the LED sets of Radio City felt the most natural. However, what this performance lacked was the sweeping camera work that completed performances like Fun Home and On the Town’s. 10. IT SHOULDA BEEN YOU”Jenny’s Blues”At first, we questioned this song choice, as it only briefly features the legendary Tyne Daly and is a vehicle for Lisa Howard, an unknown to an audience of millions. But once Howard unleashed her pipes, we got it. Between The King and I and On the Twentieth Century, we had some soprano star-power, but were missing our beltresses. No Idina or Sutton this year! While the song was a bit more subdued in style and size, Howard’s vocals provided a nice change of pace. 8. THE VISIT”Love and Love Alone”/”I Would Never Leave You”One of the most striking tableaus of the night was Chita Rivers dancing with Michelle Veintimilla, who plays the younger incarnation of Rivera’s stoic Claire. But sadly, this performance was lost in collection of show-stoppers. John Doyle’s staging is accented by bizarre camera angles, which effectively demonstrate the show’s disturbing, surreal world. The number paired well with what followed: a macabre Fosse-esque routine with some terrifying eunuchs. This performance captured the glamour, melancholia and dark humor. It may not be for everyone, but if you want it, it’s all here. 2. JOSH GROBAN & COMPANYIn Memoriam — “You’ll Never Walk Alone”We’re thrilled that following last year’s ill-advised decision to not air the In Memoriam segment, it became the most poignant moment of this year’s broadcast. Groban’s previously reported appearance was met with some raised eyebrows from theater purists, but the song choice was perfect (once he found his first note). The uneasy feelings of self-promotion for his album subsided as performers from the evening joined him for the finale verse, visually affirming his place with the Broadway community. 1. FUN HOME”Ring of Keys”In a sea of medleys from fellow nominated productions, it was a bold move for Fun Home to task its youngest star, Tony nominee Sydney Lucas, with representing the musical. But that’s exactly what made her anthem stand out; a medley from a score that’s not quite as recognizable, albeit Tony-winning, would dilute its impact. The interpolated introduction eliminated any ambiguity over the subject of Small Alison’s fascination, and the decision to have Lucas in front of the proscenium and film from behind evoked the production’s brilliant in-the-round staging. 12. GIGI”The Night They Invented Champagne”First, how fun is it that Ashley Tisdale introduced her BFF Vanessa Hudgens and her co-stars? The Act One finale is a wise choice to deliver something high-octane, starry and with a line of can-can dancers doing death drops. Hudgens pulls a bit of a Patti LuPone a la Anything Goes: sing a bit, trot to the side and have the dancers take over. But all in all, this was certainly a bubbly routine. 5. SOMETHING ROTTEN!”A Musical”Rule: If one of your numbers routinely receives a mid-show standing ovation, perform it at the Tonys. Something Rotten! did just that, and as the ceremony’s first big number, it set an extraordinarily high bar for the remaining acts. This is the definition of crowd-pleasing, and you get to feel like a know-it-all as you shout out each of the number’s references. Because our hosts’ opening bit was a bit understated compared to years past, this was a great choice to raise energy levels and show off the extravagance of the Great White Way. But perhaps if it had opened the show, it would have also gotten a standing ovation in Radio City.
View Comments Related Shows Magicians Penn Jillette and Teller are also Broadway legends—the duo got their start on the Great White Way in 1987 and are now back for a brand new magic extravaganza at the Marquis Theatre beginning July 7. But first, the stars made an appearance at Sardi’s on July 1, when they were honored with their very own portraits on the wall of the famed theater restaurant. Check out the magicians with pianist and musical director Mike Jones, showgirl Georgie Bernasek and magic consultant Johnny Thompson, then see Penn & Teller on Broadway through August 16! Penn & Teller Show Closed This production ended its run on Aug. 16, 2015
We’re keeping an extremely close eye on this show—it has Broadway-bound written all over it. Melinda Page Hamilton, McKinley Belcher III and more will join the previously reported Kevin Bacon in Rear Window. Directed by A Gentleman’s Guide’s Tony winner Darko Tresnjak, the production has been adapted for the stage by Keith Reddin, and will play a limited engagement October 22 through November 15. Opening night is set for October 30 at Hartford Stage.Hamilton will play Mrs. Thorwald and Gloria. Her screen credits include Sleeping Dogs Lie, Devious Maids, Desperate Housewives, Mad Men and Big Love. She appeared on stage in Bell, Book and Candle and Cornelia at The Old Globe. Belcher will take on the role of Sam. His credits include the HBO miniseries Show Me a Hero, the upcoming PBS series Mercy Street, Twelfth Night at Hartford Stage and Romeo and Juliet at Classic Stage Company.The play is based on the same short story—Rear Window by Cornell Woolrich—that inspired the Alfred Hitchcock film. It is the classic tale of a man confined to his apartment who thinks he may have witnessed a murder in a nearby building.Also boarding the cast will be John Bedford Lloyd as Boyne (Tartuffe) and Robert Stanton as Thorwald (A Free Man of Color). Rounding out the company will be Dan Bender, Erik Bloomquist, Ashley Croce, Roy Donnelly, Barbara Gallow, Caitlin Harrity, William Squier and Quinn Warren.Rear Window will feature scenic design by Alexander Dodge, costume design by Linda Cho, lighting design by York Kennedy, sound design by Jane Shaw, projection design by Sean Nieuwenhuis and fight choreography by Steve Rankin. View Comments