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Middlesex County lottery player wins $1 million playing Cash 4 Life

Middlesex County lottery player wins $1 million playing Cash 4 Life

Yahoo6 days ago

A lottery player in Middlesex County matched five numbers Saturday, May 24, just missing out on the Cash Ball, to secure the cash option of $1 million for the Cash 4 Life's $1,000 a week for life prize.
The winning ticket was purchased at Abreu Food Mart in Perth Amboy, 144 Lewis St. The winning numbers were 01, 03, 11, 17 and 58. The Cash Ball was 02. The retailer will receive a $10,000 bonus for selling the prize.
Cash 4 Life offers two jackpot prizes for the $2 ticket price. The top prize is $1,000 a day for life, with a current cash value of $7 million, and the second prize is $1,000 a week for life, with a cash value of $1 million. In addition to the 'for Life' prizes, the CASH4LIFE game offers seven other prize levels with prizes of: $2,500, $500, $100, $25, $10, $4, and $2. The DOUBLER add-on feature doubles the $2,500 third-tier prize to $5,000 when added to a game play for an additional $1 per play. It also doubles all of the other tier prizes. The $1,000 a day for life and $1,000 a week for life prizes are not doubled.
Cash 4 Life tickets are available in Florida, Georgia, Indiana, Maryland, New Jersey, New York, Pennsylvania, Tennessee and Virginia. Players select five numbers from a field of one through 60, and then select a 'Cash Ball' from a field of one through four. Drawings are held every day at about 9 p.m.
Brad Wadlow is a staff writer for MyCentralJersey.com
This article originally appeared on MyCentralJersey.com: Cash 4 Life $1 million winning ticket sold in Middlesex County

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From ‘The Pitt' to ‘Hamlet': Patrick Ball and a twisty take on Shakespeare come to the L.A. stage
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Ball says that after seeing the show in New York, he spent the next four hours straight discussing it with the friend he went with. O'Hara is obsessed with true-crime shows like '48 Hours,' in which culprits stick to their stories of innocence even when faced with video replays of their guilt, so he built the second act of his production in a moody, film-noir, flashback style, with a detective questioning characters after the play's end-of-show massacre. Think David Lynch meets Alfred Hitchcock with a Salvador Dali-painted set. 'I think that the audience watching will go: 'Wait a second, really, you put poison in his ear? Who puts poison in an ear?' O'Hara says during an interview after rehearsal, while Ball and Torres sit laughing beside him. 'And where are you guys getting all this poison? Poison in the glass, poison on the sword. This is something I didn't make up, but somehow Claudius has a stash of poison.' And what about that ghost? Shakespeare's Hamlet sees a ghost who tells him that his uncle Claudius murdered his father; O'Hara's Hamlet may or may not have seen a ghost. He might just be a crazy person pretending to act extra crazy in order to get away with murder. In the highly stylized universe of Hollywood noir, glamour and mental illness walk hand-in-hand; entitlement and privilege run amok. Shakespeare rarely writes about common people, O'Hara notes. 'Which goes back to the L.A.-ness of it all,' Ball chimes in. 'My title is 'prince,' right? And what's the American equivalent of that? It's celebrity. The Elsinore of America is Hollywood. So to be able to tell this story, in that way, in this town, is a very cool opportunity.' To Ball's surprise, O'Hara hadn't seen 'The Pitt' when he decided to cast Ball as Hamlet. O'Hara, rather, reacted to the strength of Ball's audition, which Ball self-taped on his phone in a frenetic style that Ball later felt was 'insane.' 'You have to have confidence, you have to have the audacity to believe that you are going to do Hamlet — and that you can do Hamlet,' O'Hara says. 'Because if I had to deal with someone who I had to pump up, or I had to make him believe that he can do it, it would be a whole different process.' O'Hara knew one thing for sure: He wanted Torres to play Hamlet's mother, Gertrude. He loved her in 'The Matrix' sequels and also as the formidable lawyer Jessica Pearson on 'Suits.' He was so certain that he didn't even ask her to audition. Torres, however, had reservations. 'My first thought was, 'I don't know if my peri-menopausal brain can do this,'' she says, laughing. But then she read O'Hara's script and she was sold. 'I was so seduced by the idea that we get to see a Gertrude that we've never seen before.' Torres' screen resume is miles long but her stage credits, not so much. Which is funny, she says, because as a New York native, her only goal was to be a Broadway star. But she got cast in a recurring role on a soap opera, and then a pilot and away she went. 'Talk to any New York actor, and they're like, 'I'm just doing enough TV so that I can go back home and do theater.' I hear it all the time. And then eight years go by,' she says. There is an electric moment between the time a stage manager calls 'places' and the curtain rises, Torres says. That's the feeling actors live for. 'We just fly,' she says. 'And we're chasing that sense of flight and connecting on stage, and if something goes wrong, we're using it. We're not starting over, we're not gonna stop. There's no safety net.' That feeling is something O'Hara sought to harness with his adaptation. He doesn't ask for more than one run-through a day. He wants to keep things fresh, with the possibility of freedom and breakthroughs. The cast, he says, must have room to find the play. 'I don't want it to be drilled in,' he says. 'I want there to be a little bit of titillating and vibration going on.'

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