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Yahoo
a day ago
- General
- Yahoo
High school lacrosse: South Jefferson, Watertown girls claim Section 3 titles
Jun. 3—CORTLAND — Monday proved to be a banner night for the Frontier League in girls lacrosse. One team successfully defended their sectional title and another returned to the championship ranks. South Jefferson defeated Westhill, 13-7, in the Class D final at SUNY Cortland. Advertisement In Class B, Watertown rallied to beat Auburn, also 13-7, at the same venue. With the win, the Spartans repeated as sectional champion. Meanwhile, the Cyclones prevailed to claim their first Section 3 title in nearly a decade. SOUTH JEFFERSON 13, WESTHILL 7 The top-seeded Spartans rode a surge in the fourth quarter to turn back the third-seeded Warriors and prevail in the Class D final. Amalia Netto scored three goals and assisted on two others, and Lily Morrison supplied three goals and an assist for South Jefferson (18-1). "It's amazing to be back here and get a two-peat again," Spartans senior Chloe Elmer said. "We're excited to be here obviously and excited for states." Advertisement Lydia Tremont tallied two goals and two assists, including the go-ahead goal in the fourth quarter, and Emma Kelley contributed two goals and an assist. The Spartans dominated in the possession game as Elmer won 16 draw controls. "Defensively we played well, but Chloe was dominant on the draw and we didn't have to play much defense," South Jefferson coach Jen Williams said. "Later on, we were winning ground balls at that point and we were possessing the ball, we were getting better looks and the girls came through." In an encounter which was close nearly throughout until the fourth quarter, South Jefferson finished with a flourish by generating the last six goals of the game. Advertisement "We knew they were going to give us a fight, there were matchups that are pretty consistent," Elmer said of Westhill. "But we knew we had the heart and we knew we had the confidence to go in and win and we executed, which is really important." "I think just our intensity was up, we were excited, we knew we had one goal and we wanted to do it as a team," Morrison, a senior midfielder, said. "And I think we all just kind of came together, like we put it together and got it done." After Westhill tied the game at 7-7 on a goal from Kara Rosenberger with 9:24 left in regulation, Tremont scored the go-ahead goal with 7:41 remaining, while the Spartans were a player up after a Westhill player was assessed a two-minute penalty. "The draws obviously helped, but the execution our offense had, we had good opportunities, we were man up for most of the game," Elmer, a senior defender, said. "And later on when were able to execute when we were a man up, that execution was important." Advertisement Kelley then followed with back-to-back goals, the first an unassisted effort and the second set up by Tremont with 4:58 left to build an 10-7 advantage. Netto would score 57 seconds later after Elmer won yet another faceoff and Morrison followed with a goal to extend the scoring run to five. Hodges would then add a goal to complete the scoring. "We had our last-minute push, the draws started clicking, the defense started clicking, the offense started clicking and we just really ran with it," Elmer said. Also with the triumph, South Jefferson also claimed back-to-back sectional titles for the first time in program history. Advertisement "It's something every team wants to do once, but we wanted to do it twice," Morrison said. "We really wanted this and we were excited to come back and get the opportunity to do it again and go as far as we can." "I never had a doubt, I was just anticipating it would have been a little bit easier," Williams said of the win. "But at the same time, I just think that, it's a championship-style game, this is a big stage for kids. And they handled it and they did well, they've earned it and I'm glad they came through with it." The Spartans now advance to a state quarterfinal when they'll face an opponent to be determined at 3 p.m. on Saturday at Christian Brothers Academy. Last year, the Spartans defeated Westhill in the final and went on to reach the state final in Class D. Advertisement WATERTOWN 13, AUBURN 7 Olivia Macutek and Alena Clough each scored four times to propel the top-seeded Cyclones past the second-seeded Maroons in the Class B title game. "This is so awesome, we have no words to describe it," Macutek said. Julia Covey and Delaney Callahan each contributed two goals to propel Watertown, which improves to 10-8 on the season. "I'm speechless, like genuinely speechless, it's like the greatest feeling ever," Clough said. Goalie Lilah Bieri made seven saves, including several clutch saves in the second half, to record the win. She was supported by a strong defensive effort as the Cyclones yielded only one goal in the second half. Advertisement Watertown trailed by two goals at halftime, but mounted a determined rally to take command. "I think we handled that well and we were just like 'who wants it?" Clough said of the team being down at halftime. "And we were like, 'we want it more,' so we went out there and we had to prove it." "I think after the first half, after we were able to kind of take it all in, this is a different atmosphere for us, obviously," Watertown coach Taylor Purvis said. "And we knew we had adjustments to make and we did a really good job of coming out in the second half and playing more confidently." Callahan and Adriana Arthur each scored a goal within a span of two minutes to draw the Cyclones even at 6-6. Advertisement Clough then struck for back-to-back goals, scoring twice within a span of 24 seconds. First, she converted on a free-position attempt with six minutes left in the quarter to provide Watertown with its first lead of the game at 7-6, then followed with an unassisted tally. Macutek followed by generating two quick goals within 48 seconds, first scoring 1:21 into the final period. After Auburn's Anna LeFevre scored just 12 seconds later, Macutek responded with tally set up by Clough to extend the lead to 10-7 and the Cyclones never looked back. "She (Clough) assisted one of mine and our teammates did a great job opening up lanes for us and we all just played together as one unit and really fed the ball well," Macutek said. Advertisement "Alena is one of our seniors so that was really awesome to see her perform the way she did and be successful with it," Purvis said. "Olivia, everyone knows she's one of our go-to (players), she's all over the field, she never gives up, her tenacity is something I hope all of our girls strive for all the time." In the meantime, Auburn went scoreless for nearly 15 minutes since their last goal in the second quarter. "I think energy, everyone was communicating and defense did a phenomenal job on really stopping the ball," Clough said of the team's success in the second half. "And heads up to our goalie Lilah Bieri, she had an amazing second half, had some key saves that really helped us translate to the offensive end and get those quick goals." "We knew that possession in the midfield was probably going to be where we struggled," Purvis said. "So being able to adjust to that in the second half and come up with the ball. Even when the times we didn't come up with it, the defense knew it was their job to stop them, and our goalie Lilah did great, she had a really great second half for us." Advertisement The Cyclones also secured their fourth sectional title and their first since the 2016 season. "We've had an up and down season, so for us to come out with a sectional title really means a lot to all the girls and us as coaches," Purvis said. "Just to know that we were working towards that and capable of achieving that goal is great." Watertown advances to a state quarterfinal to play Columbia of Section 2 at 2 p.m. on Saturday at Queensbury High School in the Glens Falls area.
Buzz Feed
05-05-2025
- Entertainment
- Buzz Feed
50 Pictures That Are Honestly Way, Way, Way, Way, Way, Way, Way, Way, Way, Way Funnier Than They Should Be
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Chicago Tribune
27-04-2025
- Entertainment
- Chicago Tribune
Review: ‘Dead Outlaw' on Broadway is an unlikely musical with a lot of life
NEW YORK — Most great Broadway musicals are about mortality. From 'Les Misérables' to 'The Lion King,' they preach that we don't die but live on in another form. But very few Broadway musicals are about corpses. Actually, I'd venture that's a genre of precisely one musical (well, arguably two if you include 'Fun Home,' set partly in a funeral home). Now landing in the dog days of the 2024-25 Broadway season, 'Dead Outlaw' is a deliciously sardonic little tuner from the cheerfully nihilistic, ever anti-sentimental, ever macabre team of David Yazbek (music, here alongside Erik Della Penna), Itamar Moses (book) and David Cromer (direction). Cromer has turned his Broadway attention from the Hollywood superstar George Clooney in 'Good Night, and Good Luck' to a mummified dude in a matter of days and coaxed decent if understated performances from both. Marketers for 'Dead Outlaw,' a decidedly unlikely Broadway attraction that has moved uptown from the Minetta Lane Theatre with original cast intact, have focused on the novelty value of a musical about a dead body, but that really doesn't tell you much, even if the first titled number in the show goes, helpfully, by 'Dead.' (Investing in this show sure took some guts.) The singing corpse in question here is that of real-life outlaw, a man vividly named Elmer McCurdy, born in Maine in 1880 and variously a plumber, lead miner and boozer who decided that robbing banks and trains was a more lucrative way to pay for his whiskey. In 1911, following his holding up a Katy Train, or what McCurdy thought was a Katy Train, he got himself shot dead by a sheriff's posse. Dead, but not buried until 65 years later. Luckily for Andrew Durand, who plays McCurdy, we see some of the story of the living McCurdy, as musically narrated by the macho Jeb Brown, leading a fiery on-stage country-rock band. We watch Elmer rob and drink and see his failed relationship with a young woman (quirkily but plaintively played by the terrific Julia Knitel). But most of 'Dead Outlaw' is about dead Elmer's body, which for a variety of amazing-but-true reasons does not actually make into the ground for decades, instead being profitably embalmed, mummified and exploited by a variety of hucksters, carnies, businessmen and believe-it-or-not entrepreneurs until the actual living history of the corpse had been forgotten (there's a sting in the show's tail I won't reveal). As he sings, looking and acting like the late Brian Dennehy, only with a better voice, Brown keeps reminding us, dryly, that we're watching a true story. For good reason. It's that improbable. Along the way, there is some comedy so dark only a mortician could fully appreciate the gags; indeed, one coroner (played with giddy abandon by Thom Sesma) has one of Yazbek's most enjoyable tunes to sing, a self-actualizing number that you imagine is pent up inside every buttoned-down medical examiner. Of course, the setup here requires Durand to play dead for great swaths of the show. Sans visible breath, he twitches not a stitch, even twisting his digits into the kind of weird position one imagines comes easily to a corpse. At one point, Cromer and his gifted Chicago-based lighting designer, Heather Gilbert, combine for what must be the best lighting cue of the entire Broadway season as a pinhole spot lands on Durand's face for what feels like several minutes as the audience holds its breath, not knowing whether the corpse will speak, stay dead or break into song, the show fully understanding the possibilities posed by the magic of theater. It's consummate Cromer and indicative of a highly unusual and highly skilled performance by a very game actor who also sings beautifully while his character is alive. This craziness apparently was Yazbek's idea. He and Della Penna (best known as Natalie Merchant's guitarist) have a lot of fun with their internal rhymes and by contrasting gorgeous music of romantic longing with characters who have no actual access to their own feelings. But when combined with Moses's very shrewdly toned book, the show does explore substantial themes, beyond its immediate purpose of persuading an audience not just to confront the certainty of their own death (always fun on a Saturday night) but their own corporal decay. The show notes that nothing ever was truly sacred or revered on the American frontier, the living and the dead all attracting their price, all susceptible to transactional exploitation. The notion lingers that not so much has changed. I've no idea how the modestly scaled, 100-minute 'Dead Outlaw' will fare in the Midtown marketplace, or if enough of the touristically curious will eschew the familiar and abandon the reliably living for a gander at the truly distinctive. If you choose the one with the corpse, know that this weird show is very much alive.
New York Post
27-04-2025
- Entertainment
- New York Post
‘Dead Outlaw' review: Wild corpse musical is too tame on Broadway
Theater review DEAD OUTLAW One hour and 40 minutes, with no intermission. At the Longacre Theatre, 220 West 48th Street. There's a nagging similarity between the 20th-century criminal Elmer McCurdy and 'Dead Outlaw,' the eccentric musical about him. McCurdy was killed in a shoot-out with police after a bungled train robbery in 1911. And then, in a stomach-churning turn of events, his mummified corpse was carted around the country for decades as an attraction in unsavory traveling tourist museums. Advertisement 'Dead Outlaw,' which opened Sunday at the Longacre Theatre, has also been schlepped a distance — from the cool and intimate Minetta Lane Theater in Greenwich Village to a big Broadway house uptown. It, too, has become a bit stiff in the process. I quite enjoyed the scrappy first incarnation last year, and still admire the score by David Yazbek and Erik Della Penna that stitches together rockabilly, campfire songs, lounge music and folk into an eerie Americana soundscape that's punchy and unsettling. Advertisement And the clever conceit of the show from writer Itamar Moses — that McCurdy is a mostly silent cadaver for half the runtime — is smart and sad; a stinging comment on the grotesque lengths some (many, really) will go to make a buck. But in the Broadway version of 'Dead Outlaw,' directed by David Cromer, there is a lot of dead air. 4 'Dead Outlaw,' which opened on Broadway, tells the story of a bandit who became a famous corpse. Matthew Murphy Well, except in the glass-shattering opener, a rascally screamer called 'Dead' that's blared by an onstage band in a shoebox that looks like a college dropout's garage. The playfully rude lyrics rattle off people who are no longer alive (the joke is that many of them actually are) and concludes with 'and so are you!' Think of the unifying cry as 'Ich bin ein Elmer!' Advertisement The group's frontman is actor Jeb Brown, perfectly cast with a husky radio voice, who becomes the narrator — Mr. Rogers after midnight. At first the effect is like listening to a weird-but-true podcast before bed. Soon, though, the 'and then this happened's become — forgive me — overkill. Elmer, both when pathetically alive and famously deceased, is played by Andrew Durand, an easy-to-like actor who audiences will remember as the romantic lead from 'Shucked' and 'Head Over Heels.' As his resume of curiosities would suggest, he's Broadway's go-to guy for 'odd.' 4 Elmer McCurdy's body toured the country for years after he died. Matthew Murphy Durand is adorably awkward as Elmer tries and tries and fails and fails to make it as even a D-List bandit. Advertisement A violent drunk who hops from town to town, adopting new identities along the way, Durand's Elmer softly croons a lovely Ben Folds-y tune called 'Normal' and hollers a feverish one called 'I Killed A Man in Maine.' In the rambunctious latter, he hurls objects across the stage and attempts to knock down Arnulfo Maldonado's set. In the second half, with sunken eyes and a razor-sharp jaw line — and I mean this as a compliment — he plays dead very well. The guy rarely ever blinks. 4 Julia Knitel (left) plays a variety of roles in 'Dead Outlaw,' but most movingly a little girl named Millicent. Matthew Murphy The show becomes more intriguing as the story grows wilder. Its most involving and moving number, in more ways than one, is called 'Millicent's Song' and is sung by a little girl whose dad has acquired Elmer's body and is storing it at their house. At first she's rightly horrified by the sight, but soon starts sweetly confiding to the dead man like a therapist. Time passes as she grows up, funny evolves into poignant, and her conversations with the unchanging Elmer mature. Julia Knitel sings sublimely, and the song creatively ticks down the years, rather than having the narrator announce when and where we are. Again. 4 'Dead Outlaw' gets more intriguing as the story grows weirder. Matthew Murphy There's also a memorable cruise-ship ditty called 'Up to the Stars,' smoothly performed by Thom Sesma as the coroner as if he's Michael Buble is another dark delight. It's something out of 'Six Feet Under.' You'll either be tickled by the coroner's punchlines ('Natalie Wood? Natalie Won't') or horrified and offended. Advertisement The musical has many diamonds in the rough. They're just not polished properly by Cromer's staging, which is awfully haphazard and diffuse for a typically sure-thing director. Scenes far off to the side feel quickly cobbled together, even though the show premiered more than a year ago. 'Outlaw' reminds me of the rebel rock musical 'Bloody Bloody Andrew Jackson' crossed with a bone-dry Coen Brothers film. There's room for something so subversive on Broadway. But not when the production's energy level is that of a funeral parlor at 8 a.m.
New York Times
27-04-2025
- Entertainment
- New York Times
‘Dead Outlaw' Review: This Bandit Has Mummy Issues
Out on the plains, around a campfire, the violent drifter sings a beautiful song. 'The sky is black but filled with diamonds / You can almost hold them in your hands' goes the yearning lyric, with a fingerpicked accompaniment and twangs from a lap steel guitar. But listen a little longer. 'Up there God is preaching,' the man continues, bitterly. 'Laughing while you're reaching.' And then this amateur Nietzsche, wondering why he should care about a universe that evidently does not care about him, jumps up with his gun to go rob a train. That's the gorgeously perverse opening of 'Dead Outlaw,' the feel-good musical of the season, if death and deadpan feel good to you. As directed by David Cromer, in another of his daringly poker-faced stagings, the show is to Broadway what a ghost train is to an amusement park, with screams and laughs but much better music. That it should be on Broadway at all is a scream and a laugh. Developed by Audible, and performed last year at the 390-seat Minetta Lane Theater in Greenwich Village, 'Dead Outlaw' was a critical darling and insider hit, the kind that seems to do best doing least. No matter how cosmic its concerns, it was deliberately small — eight performers, five musicians, one set — and deliberately niche. It was not, in other words, for all markets. Yet here it is, surprisingly intact, at the 1,048-seat Longacre Theater, where it opened on Sunday in the biggest market of all. You know what else is surprisingly intact? That singing bandit. Born Elmer McCurdy in 1880, he spends his first 30 years on earth alive, the next 65 not. The embalmer did a good job. The funny-gross story is largely true, and feels even truer as pared to the bone by Itamar Moses in the musical's terse, brisk, sure-footed book. After that campfire prologue, and a barnburner of a welcoming number that establishes the theme — 'Your mama's dead / Your daddy's dead / Your brother's dead / And so are you' — the narrative cuts to Elmer's childhood in Maine, normal on the surface, wackadoodle underneath. Let's just say he already has mummy issues. Drawn to violence even at play, Elmer (Andrew Durand, terrific) is an angry soul, or rather, as a later song puts it, 'just a hole where a soul should be.' As he grows, he tries to fill that hole with alcohol, which can always be counted on to find the fights he's looking for. After one of these fights, he flees to a Kansas boomtown where he hopes he might live a normal life, with a job and a girl. Backed up by a narrator played with wolfish charm by Jeb Brown, he sings, 'Don't know what I want to be / Just as long as it ain't me.' But no, he can't even be that. The songs, by David Yazbek and Erik Della Penna, set harsh ideas to rowdy music that somehow makes even nihilism catchy. The piquant result, as played with glee by the guitar-forward band, will remind you less of Yazbek's recent Broadway scores — 'The Band's Visit,' 'Tootsie,' 'Women on the Verge of a Nervous Breakdown' and 'Dirty Rotten Scoundrels' — than of his 2000 debut, 'The Full Monty,' with its scrapy, scrappy grunge. Or perhaps it's his album 'Evil Monkey Man,' with Della Penna on guitars, that feels most like 'Dead Outlaw,' in a genre you might call cheerful melancholy. But after McCurdy is killed in a shootout in 1911, the polarities flip to melancholy cheer. The progress of his embalmed corpse across thousands of miles in seven decades with dozens of abuses is noted in scenes as sharp and vivid as the stations of the cross, albeit funnier. In the song 'Something for Nothing,' it dawns on the undertaker who performed the autopsy (Eddie Cooper) that he can monetize the abandoned corpse. (Two bits a peep.) In 1928, Elmer is the unlikely mascot (and sideshow attraction) for a cross-country foot race. Some years later, stored in the home of a B-movie director — a mummy makes a great extra in an exploitation flick — he becomes the confidant of the director's teenage daughter. 'I'm Millicent,' she says upon meeting him. 'But everyone calls me Millie.' Which in Julia Knitel's dry-as-dust performance is somehow hilarious. By the time Elmer winds up, in 1976, on the dissecting table of Thomas Noguchi, Los Angeles's so-called coroner to the stars, he is a horribly shriveled thing, with DayGlo red skin and deciduous fingers. (The mummy is the work of Gloria Sun, but for most of the second half of the show Durand plays his own corpse, beautifully.) And though Noguchi (Thom Sesma) may be the first man to treat postmortem Elmer with dignity, or at least with clinical propriety, he is like everyone else in getting weird pleasure from his encounter with the corpse, as we learn in his Sinatra-style 11 o'clock number. 'Dead Outlaw' is about that strange reaction. For a show content to offer itself as just a fabulously twisted yarn, that's in fact its big subject: How humans are excited, as if recognizing a long-lost relation, by their intermittent and usually unacknowledged adjacency to death. Cromer makes sure we acknowledge it though, in his uncanny pacing (including a 42-second eternity of silence) and in the work he draws from the designers. That effort is all of a piece: the musicians crammed onto their rotating coffin of a bandstand (sets by Arnulfo Maldonado), the sound (by Kai Harada) full of mournful train whistles and erratic heartbeats, the clothing (by Sarah Laux) rumpled as if for an eternity, the lighting (by Heather Gilbert) often vanishingly dim. So why with all that darkness is 'Dead Outlaw' so funny? Why does a long concrete chute sliding slowly onto the stage without any comment produce a huge laugh? At another moment, why does a safe that shoots off in the other direction do the same thing? In part it's the extreme discipline of the performances. Even playing as many as 13 characters each, the ensemble members (including Dashiell Eaves, Ken Marks and Trent Saunders as sad sacks, hucksters and Douglas MacArthur) never resort to shortcuts or winks. And in part it's the respect the authors show the audience by leaving us to assemble the jokes for ourselves, using the components they provide: contrast, surprise, pattern and disruption. Though that is already surpassingly rare on Broadway, even rarer is the way the show forces us, through pure entertainment and with no pathos, to think about things our intelligence busily helps us avoid. Why are we alive? As long as we are, what should we do about it? And do we have our papers in order? 'Dead Outlaw' does. It should have a hell of an afterlife.
