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: PixabayOLEAN – The Cattaraugus County Health Department says a woman living in southeast part of the county has tested positive for COVID-19.Officials say the woman had no recent travel history, although was in close contact with another confirmed case.“The patient is resting at home, and now is under quarantine with her family,” said officials. “She will be assessed for any medical support that we can provide and we will monitor her symptoms closely.”The heath department is now conducting a contact tracing investigation for those the woman was in contact with, and the places that she visited. Officials also reported Sunday three people infected with COVID-19 have fully recovered.
Image by New York State Senator George Borrello / Facebook.ALBANY – New York State Senator George Borrello is urging Governor Cuomo to exempt state workers who have been deemed “essential” and unable to work from home, from the freeze of their scheduled two-percent salary increase.Borrello joined several others in the Senate Republican Conference calling on the Governor.Previously, the governor froze a scheduled two-percent salary increase for a large segment of the state workforce including many workers on the front lines that the state has designated “essential,” including state corrections officers and other law enforcement officers, nurses and other staff at public hospitals, and direct caregivers in nursing homes and mental health care facilities, among others.“Thousands of New York State’s essential public employees have shown dedication and fortitude throughout the COVID-19 pandemic by reporting for duty for jobs where working from the safety of home isn’t an option,” said Senator Borrello. “These heroic public servants are helping us navigate a crisis that has no precedent and that will surely go down as one of the most difficult in our history.” “In recognition of the unique difficulties of their jobs and the exceptional health and safety risks they’ve endured and continue to endure, I believe they not only deserve our appreciation, they deserve this state support,” furthered Borrello.A letter was sent to the Governor this week. 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)
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) Image via the ‘First Presidential Debate’ video pool feed.CLEVELAND – After more than a year of circling each other, Republican President Donald Trump and Democratic challenger Joe Biden met on the debate stage Tuesday night in Ohio.The 74-year-old president and the 77-year-old former vice president are similar in age, and they share a mutual dislike. But they differ starkly in style and substance. All of that was evident from the outset on the Cleveland stage.Here are key takeaways from the first of three scheduled presidential debates before Election Day on Nov. 3.And In This Corner:Trump is no stranger to going on offense, but his pugilistic approach on stage left his Democratic opponent fighting to complete a sentence.” Trailing in public and private polling, Trump advisers have pushed him to reframe the election away from a referendum on his presidency to a choice between him and Biden. Trump, instead, commandeered the debate, trying to trip up Biden by interrupting and insulting him. In the process, Trump made the debate more about himself.“There’s nothing smart about you,” Trump said of Biden. “47 years you’ve done nothing.”While Trump played into his reputation as a bully, it may have been effective at breaking up the worst of Biden’s attacks — simply by talking over them.Trump aides believed before the debate that Biden would be unable to withstand the withering offensive in style and substance from Trump, but Biden came with a few retorts of his own, calling Trump a “clown” and mocking Trump’s style by asking, “Will you shut up, man?”Trump’s supporters may have been cheered by his frontal assault. Whether undecided voters, who watched the debate to try to learn about the two candidates, were impressed is another matter.Moderator Chris Wallace was none too amused, delivering a pointed reproach to Trump for his interruptions. “Frankly, you’ve been doing more interrupting,” Wallace said, appealing to Trump to let his opponent speak.Trump is fond of superlatives, but in the case of the debate there is little doubt that it was the most acrimonious since the forums have been televised.The COVID-19 Pandemic:Trump has wanted the election to be about anything but the coronavirus pandemic, but he couldn’t outrun reality on the debate stage.“It is what it is because you are who you are,” Biden told the president, echoing Trump’s own words and referring to his months of downplaying COVID-19 while he said privately he understood how deadly it is.But Trump didn’t take it quietly. He proceeded to blitz Biden with a mix of self-defense and counter-offensives. The 200,000 dead? Biden’s death toll would have been “millions,” Trump said. A rocky economy? Biden would’ve been worse. Biden wouldn’t have manufactured enough masks or ventilators.The kicker: “There will be a vaccine very soon.”Biden fell back on his bottom line: “A lot of people died, and a lot more are going to unless he gets a lot smarter.”For voters still undecided about who’d better handle the pandemic, the exchange may not have offered anything new.Racial Reckoning:Trump said Biden was the politician who helped put millions of Black Americans in prison with the 1994 crime law. Biden called Trump “the racist” in the Oval Office.For a nation confronting a summer of racial unrest — and centuries of injustice — the debate was the latest cultural flashpoint.Biden was quiet as Trump blitzed him as a tool of the “radical left” and a weak figure who opposes “law and order.” He pressed Biden repeatedly to name any police union that’s endorsed him. He falsely accused Biden of wanting to “defund the police.”Biden didn’t capitalize when Trump refused to condemn armed militias and insisted, against the guidance of his own FBI director: “This is not a right-wing problem. This is a left-wing problem.”“Proud Boys, stand back and stand by,” Trump said when prompted on the far-right group. “But I’ll tell you what, somebody’s got to do something about antifa and the left.”The former vice president tried to push back, but not until after Trump had made his arguments, including the misrepresentations.Biden regained some footing mocking the president’s warnings about suburbs, saying, “He wouldn’t know a suburb unless he took a wrong turn.” And perhaps revealing the thinking about allowing Trump the rhetorical upper hand, Biden said, “All these dog whistles and racism doesn’t work anymore.”Question About Court, Answer About Health Care:Trump defended his decision to nominate Amy Coney Barrett to the Supreme Court just weeks before Election Day, saying “elections have consequences.”Biden said he was “not opposed to the justice,” but said the “American people have a right to have a say in who the Supreme Court nominee is.”But rather than litigate Republicans’ 2016 blocking of Merrick Garland to the high court, Biden quickly pivoted to the issues that will potentially come before the court: health care and abortion. It’s an effort by the Democrat to refocus the all-but-certain confirmation fight for Trump’s third justice to the Supreme Court into an assault on Trump and his record.Biden said Barrett, who would be the sixth justice on the nine-member court to be appointed by a Republican, would endanger the Affordable Care Act and tens of millions of Americans with preexisting conditions, and would imperil legalized abortion. It was a reframing of the political debate to terms far more favorable to the Democrat, and one Trump played into. Trump said of the conservative Barrett, “You don’t know her view on Roe vs. Wade” and he defended his efforts to try to chip away at the popular Obama-era health law.Biden has tried to press Democrats to use the court confirmation fight as a rallying cry against Trump, and the debate discussion largely played out on his turf.Image via the ‘First Presidential Debate’ video pool feed.‘Invisible’ Wallace Struggles To Contain Trump:Debate moderator Chris Wallace of Fox News tried mightily to hold his ground Tuesday after saying beforehand that it was not his job to fact-check the candidates, especially Trump, in real time.But Wallace struggled to stop Trump from interrupting and at times seemed to lose control of the debate.“Mr. President, as the moderator, we are going to talk about COVID in the next segment,” Wallace said.Soon after: “I’m the moderator, and I’d like you to let me ask my question.”Minutes later: “I have to give you roughly equal time. Please let the vice president talk.”And when Wallace noted that Trump hasn’t come up with his health care plan in nearly four years, Trump turned the question back on Wallace.“First of all, I’m debating you and not him. That’s okay. I’m not surprised.”Wallace had said he wanted to be “invisible.”Well, that was impossible.Family Business:As expected, Trump found a way to bring up Hunter Biden, the former vice president’s son, and recycle allegations about the younger Biden’s international business practices. Biden called Trump’s litany “discredited” and fired back, “I mean, his family we can talk about all night.”But Biden sidestepped any of the specifics of Trump’s international business dealings and instead turned straight to the camera. “This is not about my family or his family,” Biden said as Trump tried to talk over him. “This is about your family.”In a later exchange, Trump interrupted Biden when he was talking about his late son, Beau Biden, who died of cancer in 2015 after having served in Iraq.“I don’t know Beau, I know Hunter,” Trump said.
Kimber Lee’s brownsville song (b-side for tray) will receive its New York premiere by LCT3, Lincoln Center Theater’s initiative devoted to producing works by new artists. Under the direction of Patricia McGregor, the play will run from October 4 through November 16 at the Claire Tow Theater. Opening night is set for October 20. brownsville song (b-side for tray) tell the story of the family of Tray, a spirited 17-year-old whose life is cut short, as they navigate their grief and find hope together. Casting and additional creative team will be announced at a later date. Lee’s previous works include fight and tokyo fish story. The world premiere of her play different words for the same thing will play L.A.’s Kirk Douglas Theatre in May. View Comments
After nine seasons as Ted Mosby on the Emmy-winning series How I Met Your Mother, Josh Radnor is returning to his theater roots in not one, but two new plays. The actor, director and screenwriter is currently starring in the world premiere of Richard Greenberg’s The Babylon Line through July 7 at New York Stage and Film & Vassar’s Powerhouse Season at Vassar College—he’ll then switch gears to play Isaac in Ayad Akhtar’s Pulitzer Prize-winning drama Disgraced, beginning September 27 at the Lyceum Theatre on Broadway. Radnor chatted with Broadway.com about returning to the Great White Way for the first time since The Graduate, his “lazy” HIMYM line-learning habits, the homicidal Sondheim character he’d love to play and his dragalicious kiss with Hedwig star Neil Patrick Harris. Why did you want to sink your teeth into The Babylon Line? This is my fourth time at Vassar—I was an acting apprentice here when I was in college and it’s a real artistic home for me. When they call and offer me something, I take it very seriously because I love it here. I’ve never done a play of Richard Greenberg’s before, but I’ve seen quite a few and I think he’s one of our most eloquent and exciting playwrights. I was nervous going into rehearsal because the part is tough and it’s pretty epic. I’ve never had to learn this many lines before. You don’t want to approximate Greenberg, because then you hear the actual line and you’re like, “Well, that’s 100 percent better than what I just said.” So you really have to get it perfect. Related Shows Disgraced View Comments Doing Broadway this time around is going to be a little different than when you were last here as an up-and-coming actor. I did The Graduate in 2002, and I used to tell people I was famous for 15 minutes on a half block of West 45th Street, and then around the corner, I’d be totally anonymous again. Things have changed over the years in some really wonderful ways, but sometimes it can be strange and disorienting. New Yorkers leave you alone, but students and tourists come up and want to say hi, most of which is really lovely, but you’re bound to have some strange encounters. At least they all turn into good stories. Now that Disgraced has won the Pulitzer, do you feel any added pressure to do it justice? Its award-winning status hasn’t made me nervous, but I think it’s recognized justly as an important play. Ayad is one of the most exciting voices in theater right now—he grew up loving Philip Roth and Saul Bellow and Woody Allen movies, and I think he’s attempting to do for the Muslim-American experience what those authors did for the Jewish-American experience. It’s thrilling to watch someone tackle that so eloquently and empathetically. Right now, it’s more exciting than daunting, but talk to me in a couple months and I might feel differently. [Laughs.] Have you gotten to see Neil Patrick Harris in Hedwig yet? I saw it last Sunday night! He was phenomenal. He came out in the audience during “Sugar Daddy” and planted a big kiss on my forehead, which humiliated me and also made me very happy. But didn’t you get lots of practice learning lines quickly from How I Met Your Mother? Oh no, we were the laziest group of line learners, because we never shot in front of an audience. We would gather around the script supervisor’s table and just jam the lines right before we went. Sometimes I had these page-long speeches and I would have to learn those, but largely we got really good at throwing it on its feet quickly and approximating professional acting. At some points our director would have to say, “Professional acting guys, come on, professional acting now.” What’s your ultimate musical dream role? I just saw Six by Sondheim on HBO and I thought that was so amazing. In a number of years, I’d love to do Sweeney Todd, and I love George in Sunday in the Park with George. I also really love original work, so I’d love to originate something. You sang with Neil in How I Met Your Mother—would you ever want to do a musical? I did a benefit of She Loves Me a couple years ago with Kelli O’Hara, and I would love to do a production of that. We’re talking about it a little bit, but there’s nothing set. I started off in musicals, and I still think it’s the most adrenaline-producing, fun thing, so I’m always open to it. See Josh Radnor in The Babylon Line at Vassar College’s Powerhouse Theater through July 6. After How I Met Your Mother, we’re so happy to see you jumping back into theater—what made you want to do these two plays? Oh, just to make the folks at Broadway.com happy. [Laughs.] When the show ended and I was asked, “Do you want to do a new Richard Greenberg play at Vassar?” I said, “Well, yeah, of course I do.” That’s a no-brainer. And I know [Disgraced] playwright Ayad Akhtar—I wrote him a fan letter after reading his fantastic novel American Dervish, and we had coffee in the city one day and became friends a couple years ago. He said he had always wanted me to do this role, but I was never available, so then when the Broadway production came up, they offered it to me, which I was thrilled by ‘cause it’s a really special, wonderful play. Show Closed This production ended its run on March 1, 2015
Star Files Here’s a quick roundup of stories you may have missed today.Premiere Date Set for Bernadette Peters’ New ShowAmazon will make all 10 episodes of Mozart in the Jungle, a new series starring two-time Tony winner Bernadette Peters, available on December 23. Rocky director Alex Timbers co-wrote and co-created the dramady, which follows a New York based orchestra. The show also features Gael Garcia Bernal, Saffron Burrows, Lola Kirke, Malcom McDowell and Peter Vack. We now know what we’ll be watching over the holidays!Two New Productions Announced for London’s Old VicDaniel Kitson’s Tree will have its London premiere and Olivier winner Maria Friedman will direct a revival of Cole Porter’s High Society at the Old Vic next year. Both will be staged in the round. Tree will star the playwright along with Tim Key and will play January 5, 2015 through January 31. High Society is scheduled to run April 30, 2015 through August 22.Kristin Chenoweth Thinks Peter Gallagher is ‘Hot’Kristin Chenoweth stopped by LIVE with Kelly and Michael on November 20 to talk her recently released album Coming Home and her return to Broadway (also a coming home of sorts!). Watch below as she talks about how excited she is to star in On the Twentieth Century, not least because of her “hot” co-star Peter Gallagher. There’s also a discussion about Madeline Kahn that needs to be seen to be believed. Darren Criss Big with Evan Rachel Wood and Darren Criss from Evan Rachel Wood View Comments Glee Star Darren Criss’ Big ProblemHas it been a long day? The below video, courtesy of those folks over at Funny or Die, will brighten it in a thoroughly inappropriate but utterly hysterical manner. Broadway alum and Glee star Darren Criss and Evan Rachel Wood star in a parody of the Tom Hanks classic Big. Trust us, it’s worth watching.
Santino Fontana(Photo: Caitlin McNaney) Star Files View Comments Poughkeepsie is the place to be this summer as a handful of new works come to life. Vassar and New York Stage and Film’s 2016 Powerhouse Season will include a new presentation of the 1965 musical The Roar of the Greasepaint, The Smell of the Crowd, adapted by and starring Tony nominee Santino Fontana. Among the other names lined up for the summer festival are Josh Radnor, Michael Mayer and John Slattery.The Roar of the Greasepaint, The Smell of the Crowd introduced such American songbook standards as “Who Can I Turn To?,” “The Joker” and “Feeling Good.” Fontana, who can be seen on screen in Crazy Ex-Girlfriend, has been commissioned by Roundabout Theatre Company to adapt the classic work by Leslie Bricusse and Anthony Newley.The upcoming season will also feature two fully-staged productions of new plays written and directed by women. Transfers, by Lucy Thurber, will run from June 30 through July 10 with Jackson Gay at the helm. Lila Neugebauer will direct Sarah DeLappe’s The Wolves, which will run from July 21 through July 31.Additionally, two TV stars and Broadway alums will present play as part of the Reading Series. Josh Radnor will offer his first play Sacred Valley, while Emmy nominee John Slattery will direct a reading of Lorien Hayne’s Good Grief. Meanwhile, Michael Mayer will direct a private presentation of a new musical, titled Head Over Heels. The show features a book by Jeff Whitty and music by The Go-Go’s. Tom Kitt will serve as music supervisor for the project; he and Mayer collaborated previously on American Idiot at Powerhouse.The 32nd annual festival is scheduled to run from June 24 through July 31. Additional events and casting will be announced later. Santino Fontana
Show Closed This production ended its run on June 12, 2016 Q: What do you love most about this play?DAPHNE: Quiara has such a strong voice, and the play deals with so many relationships: sisters who have taken different paths, a mother and daughter [Samira Wiley of Orange Is the New Black], a daughter trying to make her way in the world. It’s poetry.VANESSA: The play spans 18 years, and you get to see the changing dynamics between these people who have laughed and cried and mourned together. Time shifts, and you pick up how things have changed since the previous scene.DAPHNE: It’s like jazz. What is left out is as powerful as what is said. Q: As Inez, Daphne wears a spectacular lineup of wigs and costumes. Are you jealous, Vanessa?VANESSA: I love her clothes in the show! She’s fabulous.DAPHNE: I’m very bourgeois. I love playing the wife of a guy who rents things out. At one point, my husband says, “Have Inez show you some apartments,” and it tickles me to death. It’s my little “in” joke with Quiara: I’ve turned into Benny from Rent.Q: Speaking of Rent, does it feel like 20 years have gone by since the show’s debut?DAPHNE: Yes and no. Rent has been a big part of the fabric of my life. Not a day passes without it being brought up. Adam [Pascal] and I are doing a show [on June 3 at Ocean County College in Toms River, NJ], and when we rehearse the songs, the way they just come back—it’s like, holy moly!Q: Rent was praised for diversity in casting, and now people are saying the same thing about Hamilton. Has that issue gotten better in the past two decades?VANESSA: There are changes, but they’ve been a little slow, in my estimation. One of the problems since the early ‘90s has been [scripts] written by Latino writers where everyone except the bastard and the whore is played by Anglo actors—plays like Death and the Maiden and films like The House of the Spirits. The reverse doesn’t happen, although funnily enough, my first job as an actress was in an Anthony Minghella film, Mr. Wonderful, and I was supposed to be Italian.Q: Daphne has broken barriers by playing Fantine in Les Miz and Stella in A Streetcar Named Desire on Broadway. DAPHNE: I make it my life’s work to do that. People ask me, “Why do you choose these political roles?” They become political by dint of the fact that the person playing them looks like me. It’s been a slow advancement, but we are creating our own stories now. We have no choice.VANESSA Daphne and Quiara are working on a musical together!DAPHNE: It’s called Miss You Like Hell and it’s being developed at La Jolla. [Performances begin October 25.] It’s about an undocumented mother and her estranged daughter reuniting for a week to ride across the country before the mom’s deportation trial. Quiara is such a powerful writer, I would follow her anywhere.Q: Knowing what you know now, what advice would you give to your younger selves?VANESSA: A couple of things: I would say love yourself. You are thin enough. You are beautiful.DAPHNE: Believe in yourself. Confidence, infused with the truth, is a very powerful asset.VANESSA: I channeled all my energies into my acting [in the past]. I took a lot of chances on stage, but in life, I tended to be more closed off and hermitic. I would say to my young self, go out with people! Call that cute guy who gave you his number. It’s OK!DAPHNE: The biggest mistakes I made were when I tried to be like someone else. My strength was in being myself. I got traumatized after a record deal fell by the wayside, but I just kept going. The world was my teacher, and it helped me become an actor that I’m proud of being. I’m still alive and kicking! View Comments Sisterhood is powerful in Daphne’s Dive, the new play by Pulitzer Prize winner Quiara Alegría Hudes. In the title role, Vanessa Aspillaga runs a neighborhood bar in North Philadelphia where an array of colorful characters makes themselves at home. Her older sister, Inez, played by two-time Tony nominee Daphne Rubin-Vega, has escaped to the upscale Main Line thanks to her marriage to a rising power broker with roots in the Puerto Rican community. Thomas Kail’s production for Signature Theatre gives full voice to Hudes’ strivers, with Aspillaga and Rubin-Vega sharing a lively onstage chemistry first seen in the 2003 Broadway production of Anna in the Tropics. During an afternoon chat at the Theater District dive bar Rudy’s, the ladies sipped soft drinks and shared their thoughts about diversity in casting, the 20th anniversary of Rent and what they’d tell their younger selves.Q: We’re sitting in a booth at Rudy’s, and Vanessa plays a bartender in Daphne’s Dive. What’s your drink of choice?VANESSA: I don’t drink alcohol now, although I used to come to Rudy’s with Sam Rockwell and actors from Labyrinth [Theater Company]. You got free hot dogs with your drinks! When I imbibed, I liked a very dirty martini with olives stuffed with blue cheese. It was like a meal.DAPHNE: I don’t drink either. I used to love wine, and tequila was always fantastic, but those days are over. Just going to the bathroom here took me back—it’s almost like CBGB.Q: The last time you two shared a stage, you were in a Pulitzer Prize-winning play on Broadway. It must feel like a gift to be reunited as sisters. DAPHNE: That’s exactly what Tommy Kail said.VANESSA: I’ve actually known Daphne since I was 19, in the early days of Labyrinth.DAPHNE: The early ‘90s. She was the little one—Yul [Vasquez’s] niece. Daphne’s Dive Daphne Rubin-Vega & Vanessa Aspillaga photographed at Rudy’s Bar & Grill(Photo: Caitlin McNaney) Related Shows
You may think you know Hamilton, but we have a surprise for you: Tony winner Renée Elise Goldsberry and King Rorge (a.k.a. Rory O’Malley) shared a cut song at #Ham4Ham on August 31, which was also the last day of the incredibly popular Hamilton pre-show entertainment. Goldsberry sang, “Congratulations,” which ended up not getting its shot in the final Broadway production. Take a listen below and feel like you learned something new about Lin-Manuel Miranda’s mega-hit musical! Happy trails, #Ham4Ham. We’re gonna miss you! Star Files View Comments from $149.00 Rory O’Malley Renee Elise Goldsberry & Rory O’Malley Related Shows Renée Elise Goldsberry Hamilton
Kevin Kline Star Files Related Shows Kevin Kline(Photo: Dave Kotinsky/Getty Images) Oscar and Tony winner Kevin Kline will headline a revival of Noël Coward’s Present Laughter on Broadway. Performances will begin early next year at the St. James Theatre; opening night is set for April 5. Moritz von Stuelpnagel will direct.Kline won Tony awards in 1981 and 1978 for The Pirates of Penzance and On the Twentieth Century, respectively. He most recently appeared on Broadway in the 2007 revival of Cyrano de Bergerac. He also appeared on stage in a Tony-nominated turn in Henry IV, Ivanov and Arms and the Man. Kline’s myriad screen credits include an Oscar-winning performance in A Fish Called Wanda, as well as Sophie’s Choice, De-Lovely and the upcoming live-action Beauty and the Beast.Coward’s comedy, which first premiered on Broadway in 1946, follows Garry Essendine, a self-indulgent actor who receives a visit from a young admirer, initiating a parade of intruders and interruptions, including his ex-wife, his manager and an aspiring playwright. The play was last revived on Broadway in 2010 with Victor Garber in the role of Essendine.The St. James is currently home to Something Rotten!, which will close on January 1, 2017. Disney Theatrical confirmed earlier today that the musical adaptation of Frozen will play the same space in spring 2018. Present Laughter View Comments Show Closed This production ended its run on July 2, 2017