U.S. Navy to Celebrate Huntsville Navy Week April 21–27
HUNTSVILLE, Ala. (WHNT) — The U.S. Navy will bring sailors from across the fleet to Huntsville on April 21-27 to celebrate Huntsville Navy Week.
Navy Week is the service's flagship outreach effort, designed to connect Americans with the Navy and demonstrate the Navy's importance to national security, prosperity, and global presence.
The event also helps lay the groundwork for the Navy's 250th birthday this year.
The Navy will engage with the Rocket City through public events, school visits, community service projects, and collaborative programs highlighting the Navy's enduring mission and future.
During Huntsville Navy Week, more than 50 sailors, to include those with direct ties to Huntsville, will engage in education and community outreach events throughout the city.
'This Navy Week is important to me because it gives me a chance to tell others about my experiences in the Navy, and it gives a real look into the opportunities the Navy has provided me,' said Cyber Warfare Technician 2nd Class Carolyn Shelby McGilvray, a native of Montevallo assigned to Navy Information Operations Command (NOIC) Pensacola, Florida.
The following scheduled events and engagements can be found below:
Monday, April 21
Navy Week Proclamation Kickoff Ceremony at the U.S. Space & Rocket Center (5:30 p.m.–8:00 p.m.)
Tuesday, April 22
Earth Day Cleanup (4:00 p.m-6: p.m.)
Meeting with the Stick masters-Huntsville Community Drumline (5:15 p.m. – 7:15 p.m.)
Military Night-Trash Panda Game (5:00 p.m.–8:00 p.m.)
Wednesday, April 23
US Navy 250 Birthday Celebration Floyd E. Tut VA Home (2:00 p.m.-3:00 p.m.)
Burritt on the Mountain Volunteer Service Day (9:00 a.m.-1:00 p.m.)
Burritt on the Mountain Cocktails on the View (5:00 p.m.-8:00 p.m.)
Thursday, April 24
Manna House Food Distribution (8:00 a.m.-12:30 p.m.)
Huntsville Botanical Gardens (12:00 p.m.-1:00 p.m.)
Fun Run: Fleet Feet (12:00 p.m.-2:00 p.m.)
Friday, April 25
Downtown Rescue Mission (6:00 a.m.-1:00 p.m.)
Panoply Arts Festival – Military Salute Night (5:00 p.m.–9:00 a.m.)
Saturday, April 26
Arbor Day 5K Race & 3K Sapling Fun Run (7:30 a.m-10:30 p.m.)
HSV Comic Expo (900 a.m.–6:00 p.m.)
U.S. Space & Rocket Center Navy Band Southeast Brass Quintet Performance (12:00 p.m.–1:00 p.m.)
College Beach Volleyball Championship (12:00 p.m.-4:00 p.m.)
Navy Band South East Lowe Mill Performance (5:00 p.m.-7:00 p.m.)
Sunday, April 27
HSV Comic Expo (9:00 a.m.-7:00 p.m.)
Navy Band South East Brass Quintet Performance at Stove House (1200-1300)
Huntsville FC Soccer Game (5:00 p.m.–8:00 p.m.)
There will be 15 Navy Weeks throughout the country in 2025.
Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
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Yahoo
13 hours ago
- Yahoo
Lowcountry playwright prepares for New York debut of her latest production
NEW YORK, N.Y. (WSAV) — When Abby Rosebrock was growing up in South Carolina, she had no idea how her formative years would impact her work as a playwright. 'I when I first started writing plays, I think I tried to write stories that felt more immediate to my experience. So I was writing about, like, actors in Brooklyn, but I soon figured out that the place that I know best, even though I haven't lived there in 20 years, is definitely the Southeast.' Now a New Yorker with several stage productions under her belt, she often returns to her southern roots for inspiration. One of her earliest plays, 'Blue Ridge,' is set at a halfway house in the Appalachian Mountains. The dialog, while pointed and direct, is written on the page to reflect the easy way Southerns speak. But make no mistake: Rosebrock's protagonists and antagonists are not simple southern caricatures. Especially the women. Rosebrock is an actor as well as a writer. When she began writing plays, she discovered her female characters were often forces to be reckoned with. 'That's how I started. I really just wanted better material to perform in scene study classes. Dialog just sort of comes naturally to me. It's sort of how I make sense of the world. I come from a family of very talkative women so I'm sort of obsessed with human speech and the poetry of the way people talk to each other day to day.' Rosebrock has a fondness for her male characters as well. 'I'd like to think my male characters, especially in more recent years, are a little more rounded than maybe they used to be. Theater is where human beings can sort of work out their demons and in community with other human beings. And that's what's fun and exciting about it.' The visceral response theater gives an audience is important to her too. 'I think we spend most of our days hiding from each other, especially in workplace settings. Americans work way too much and expect way too much of themselves in service of terrible corporations. And in order to fit into that structure, we're just constantly suppressing what's truest and most authentic about our experiences. With live theater, when you throw hundreds of people into a room to watch other human beings behaving authentically, people are sort of reminded of what life could be like if we weren't so enslaved to the systems that run most of our lives.' Rosebrock's newest play, 'Lowcountry,' will make its world premiere in New York this month. It centers around an out-of-work actress who returns to her rural hometown and makes a tenuous connection with a disgraced high school teacher. It shines a light on how people connect in the digital age. 'I wrote it after the pandemic, after I'd spent a really long time, more or less alone in my apartment. But I think I was coming out of a time that felt very sterile and hopeless and devoid of resources.' Photo gallery: rehearsals for Abby Rosebrock's newest play, Lowcountry, at The Atlantic Theater in New York. 'A really great thing about working on a brand-new play that's never been performed before is it's extremely collaborative. So your words are being shaped not just by your own instincts, but by actors who are telling you, 'I don't feel truthful when I'm saying this line' or 'I feel like my character might be dealing with this other thing that's not even being acknowledged right now.' And then you have a director who's guiding that entire process and sort of moderating conversations, not just with actors, but with the designers too. So it just feels like the most exciting thing in the world to have world-class actors weighing in on your script as it's sort of taking its initial shape.' 'Lowcountry' is Rosebrock's second work that has debuted at The Atlantic Theater Company. Founded by an ensemble of artists in 1965, it is known for fostering upcoming talent both on the stage and behind the scenes. 'It's a dream. It's definitely my artistic home and I feel totally overcome with emotion every time I come here to work because the energy is so special. The artistic director of the Atlantic has really believed in me and championed my work for several years now, and the first play I did here, 'Blue Ridge,' was just a wonderful experience from start to finish. It happened right after Covid and I wondered, 'Will I ever experience something that great again?'' She says The Atlantic is a space to experiment, 'to have bad ideas and to try your wildest visions to see if they work and get eyes on it from some of the best people in the business.' 'Lowcountry,' Abby Rosebrock's latest work, premieres at The Atlantic Theater in New York on June 5. It runs through July 13. Get your tickets here. Copyright 2025 Nexstar Media, Inc. All rights reserved. This material may not be published, broadcast, rewritten, or redistributed.
Politico
16 hours ago
- Politico
The conversation begins
Presented by With help from Eli Okun and Bethany Irvine Good Sunday morning. This is Zack Stanton, struggling to believe it's already June. Get in touch. WHAT TRUMP IS POSTING: Last night, President Donald Trump shared a post on Truth Social from an account with 986 followers alleging that Joe Biden was 'executed in 2020,' and replaced with 'clones' and 'robotic engineered soulless mindless entities.' WHAT ERNST IS POSTING: At a town hall Friday, Sen. Joni Ernst (R-Iowa) was answering a question about cuts to Medicaid in the House GOP-passed reconciliation bill when an audience member interrupted her to shout that 'people will die' if because of the changes. Ernst replied that 'we all are going to die' — creating the sort of viral clip that travelled beyond the reaches of the internet to land on the front page of the Des Moines Register. (Watch the exchange, in case you missed it.) Now comes a sarcastic 'apology' video from Ernst. 'I made an incorrect assumption that everyone in the auditorium understood that yes, we are all going to perish from this earth,' Ernst said in a video she shared yesterday on Instagram — and which appears to have been filmed in a cemetery. 'So I apologize. And I'm really, really glad that I did not have to bring up the subject of the Tooth Fairy as well. But for those that would like to see eternal and everlasting life, I encourage you to embrace my lord and savior, Jesus Christ.' More from the Des Moines Register's Stephen Gruber-Miller Speaking of Medicaid … DRIVING THE DAY THE CONVERSATION: When it comes to the ways of Washington, Mehmet Oz is still a novice. That's a position at once new and familiar: Prior to entering politics, he was a famous doctor on TV and, before that, a celebrated heart surgeon in Manhattan. To put a fine point on it: It's been a long time since he's been a rookie in his chosen career. 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The Trump administration is now looking at lower-profile technology services contracts with the federal government for potential cuts, WSJ's Chip Cutter scooped. The GSA has asked Dell, CDW and other firms to make a case for why their contracts should be retained, as the administration eyes IT and other tech products for potential savings. The bureau: Director Kash Patel has begun to put his stamp on the FBI, from forced ousters and demotions to an intensive focus on immigration to polygraph tests to find leakers, NYT's Adam Goldman reports. The changes have unleashed 'fear and uncertainty' among employees that Patel and Deputy Director Dan Bongino are politicizing and weaponizing the FBI. And they 'have obliterated decades of experience in national security and criminal matters.' The FBI didn't comment, but Bongino was defiant and unapologetic on X. 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Civil rights experts estimate that dozens of discrimination cases involving banks, landlords, private employers and school districts could face similar action. … At the center of this effort is 'disparate impact analysis,' which holds that neutral policies can have discriminatory outcomes even if there was no intent to discriminate.' 8. OAN'S RED LINE: 'MAGA outlet's Pentagon correspondent criticized Hegseth. And then she was fired, she says,' by CNN's Brian Stelter: 'A self-proclaimed 'MAGA girl,' [Gabrielle] Cuccia positioned herself as a proudly conservative voice among the normally nonpartisan Pentagon press corps. But she grew perturbed by [Defense Secretary Pete] Hegseth's actions against the press.' Two days after criticizing him on Substack, 'I was asked to turn in my Pentagon badge to my bureau chief,' she said. OAN didn't respond for comment. 9. IN THE WILDERNESS: Could South Carolina lose its brief hold on the early slot in Democrats' presidential primary calendar? 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WELCOME TO THE WORLD — Sean McMinn, data/graphics editor at POLITICO, and Nicole McMinn, a biomedical engineer at Walter Reed National Military Medical Center, welcomed Rosemary on Thursday. HAPPY BIRTHDAY: Rep. Lucy McBath (D-Ga.) … Addisu Demissie … FT's Ed Luce … CBS' Olivia Gazis … AP's Bill Barrow … Richard Sant of Lockheed Martin … Karen Tramontano … Leslie Harris … Google's Sasha Moss … U.S. Commission on Civil Rights' Irena Vidulović … The Spectator's Amber Athey … former Rep. Gregg Harper (R-Miss.) … Sean Kennedy of the National Restaurant Association … Advoc8's Jeremy Rose … Matt Winkler … Melissa Hockstad … Jim Innocenzi … Danielle O'Byrne … Diane Zeleny … Christopher Minakowski … Percipient Strategies' Tyler Ross … Terrance Green … Jose Nunez … Heath Knakmuhs of the U.S. Chamber … Kay Coles James … Teamsters' Kate Yeager … Mark Green … Elizabeth Rojas Levi of ERL Group … Constance Boozer ... Elizabeth Glidden … Alex Seitz-Wald … POLITICO's Rahul Sharma Rampa … Alex Stoddard … Dan Bartlett of Walmart Did someone forward this email to you? Sign up here. Send Playbookers tips to playbook@ or text us on Signal here. Playbook couldn't happen without our editor Zack Stanton, deputy Garrett Ross and Playbook Podcast producer Callan Tansill-Suddath.
San Francisco Chronicle
2 days ago
- San Francisco Chronicle
Rarely performed Sondheim musical speaks volumes in our tariff era
To feel the scourge of imperialism, listen to a song that doesn't dictate feeling at all. In the musical 'Pacific Overtures,' an unlikely governor in Japan ticks off the Western imports that have wormed their way into his life since Americans forced open his country to trade in 1853. 'It's called a bowler hat,' Kayama (Nick Nakashima) sings in Kunoichi Productions' show, his eyes wary yet curious as he regards the foreign object. Two verses later: 'It's called a pocket watch.' Before long, the samurai is looking for his own bowler hat, drinking too much white wine and replacing his sword with a pistol. Stephen Sondheim's lyrics stay light and jagged, and his music sounds like waves heaving back and forth, thrashing the passage of time. Suddenly, a way of life is gone, a man transformed, and all it took was a song. That's one of the finest moments in the rarely performed show, which opened Friday, May 30, at Brava Theater. Another comes shortly before, when nobles warn Lord Abe (Lawrence-Michael C. Arias) about the growing population of Westerners in their midst. Their method is to have a storyteller deliver a fable, in the ritualized style of traditional Japanese theater, about a young king on a hunting party who thinks he's encountering a tiger, only to be confronted by a pack of beastly men. Herein, actor Ryan Marchand glides about the stage in swooshing steps, sweeping his arms in surgically precise arcs. In a drawn-out chant, his voice mines the lower depths of his body cavity, resounding like a hollow redwood, and ratchets up in pitch to transport the whole stage to some kind of liminal space, like we're listening to an emissary from the beyond. His hyper-focused gaze practically has physical force. It's as if he pictures very specifically all the long-term ramifications of opening borders to the West, and he's holding you in place till you see it, too. The show isn't an easy one, though. Often, Sondheim's score doesn't ingratiate itself with the ear. If you're not well schooled in dissonant music, it can be difficult to pick out what distinguishes his chords from a random mashing of fist against keys. And while Nick Ishimaru's direction contains some flashes of genius, including othering the infringing Americans as caricatures by costuming them in garish masks, staging feels incomplete. When Kayama and his wife Tamate (Sarah Jiang) fret about his impossible-seeming mission to keep the Americans offshore, lest they taint sacred Japanese soil, it's as if the actors haven't been told to either move or stay still, so they hover in an unsatisfying in-between state. Singers muddle their pick-ups and cut-offs. Breath support staggers, the musical equivalent of water instead of soup. In the repetitive song 'Someone in a Tree,' the actors fail to justify why one character, recalling his observation of the first meeting of the Japanese and Americans, sings that he was 'younger then' six times. Sitting in the audience, you start to dream up possibilities. Maybe he's senile. Maybe he's overexcited or fond of hearing his own voice. Maybe his listener would be indulgent at first, since she yearns to hear his tale, only to grow confused, then impatient, then exasperated. But the actors don't explore these possibilities or any other, probably better ones. Each iteration feels the same. Still, in our own era of tariffs and isolationism frankensteined to would-be imperialism (see Greenland, Canada and the Gulf of Mexico), the 1976 musical makes for a provocative revisit. Closed borders relegate the rest of the world to 'somewhere out there.' Open borders sully or sever connection with heritage. But history, 'Pacific Overtures' suggests, tends to move only in one direction. You can't put the genie back in the bottle, so open with care.
