#Rob Denton

[bunny-heels]

no non noononon you dont understand i dont i dont think you get it you dont understand

im

OBSESSED...............

[askagamedev]

I read a report that EA is in talks to transfer development of Star Wars, The Old Republic from Bioware to another company. Any insights on this. Is it unusual to do something like this when the service has been live for over 10 years?

It is likely that the Bioware is having difficulty replacing the natural attrition affecting the SWTOR dev team over time. Every dev team will have some amount of natural turnover, be it devs finding new jobs elsewhere, devs getting transferred to other projects, devs quitting to spend more time with their families, devs leaving to start their own new studios, or whatever. Older projects like SWTOR don't have the kind of cachet that Bioware's other franchises like Dragon Age or Mass Effect, so SWTOR likely doesn't necessarily attract as many applications for new hires to replace the devs leaving. This turnover also likely includes project leadership and senior development talent, which makes maintaining the game even more difficult because the departing seniors and leaders take a lot of that institutional knowledge with them when they go.

Broadsword specializes in taking over and maintaining "legacy" (old) online service games. Broadsword was founded by Mythic Entertainment co-founder Rob Denton and secured contracts with EA to handle two of their legacy online games - Dark Age of Camelot and Ultima Online. Picking up a third EA legacy online service game like SWTOR makes a lot of sense. Broadsword can focus their recruiting on developers interested in picking up legacy service games and bring over other experienced online devs to help out when needed. It makes sense from a business perspective where the original studio might not have the desire to continue running the games, but the players, the publisher, and other devs might still be interested in continuing to find a mutually beneficial transferring of the guard.

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[francesderwent]

Jack playing out his usual “you know someday I’m gonna get out of here” monologue and Sarah just answering “I have to get to work” and Jack realizing he can’t be a coward!! and saying “I’m not used to whether I stay or whether I go matter to anybody. I’m not saying it should matter to you. but. does it? matter?” and then Sarah just looking at him and breaking into a smile. like don’t get me wrong, they could have done more with her. but Jack came into the lives of this family and he gave them hope! he gave them a reason to hold their heads up again after the dehumanizing way their father was treated robbed them of that!! and it’s clear from the way Sarah recounts her father’s pride to Jack that that MEANS something to her! and so she’s the one who insists they take Denton’s article seriously, and she goes with them to the cellar of the World to illegally print their paper, and she helps circulate it. and when at the crucial moment the core group of newsies is huddled together thinking no one has come their aid, Sarah is there! and because Sarah is there we know that the crowds will follow, because Sarah represents all the other workers who would turn out to stand with the newsies. because Jack gave her hope, because Jack gave their struggle dignity. and so when Jack DOES stay at the end, we know enough to know that it DOES matter to her!!! her joy at his return is real!! not everything has to be spelled out for us, because the foundation of the romance is there!

[badsithnocookie]

it probably says something about how entirely disconnected i am from the game that i learned that bioware are divesting themselves of swtor entirely by one of my xiv staticmates going 'hey appo, don't you play the old republic? did you hear they were farming it out to a third party?' during a break in tonight's reclears/prog session. man doesn't even play swtor, ffs. but here we are. via ign:

According to sources familiar with the matter, Broadsword and EA have signed a letter of intent, with the deal expected to be finalized as soon as this month. The agreement would see The Old Republic handed over to current Ultima Online and Dark Age of Camelot developer Broadsword Online, which is run by former Mythic Entertainment co-founder and BioWare VP Rob Denton, who previously worked on The Old Republic in its early days.

After the publication of this story, EA addressed the news in the following statement:

“Almost 12 years after launch, Star Wars: The Old Republic remains a success and continues to grow its dedicated and passionate community. We’re so proud of the work the team has done, and the future of the game and the community continues to be very bright. We’re evaluating how we give the game and the team the best opportunity to grow and evolve, which includes conversations with Broadsword, a boutique studio that specializes in delivering online, community-driven experiences. Our goal is to do what is best for the game and its players.”

Currently, roughly 70-80 people are part of the core development team of The Old Republic, more than half of whom are expected to move to Broadsword. Those remaining with EA would have an opportunity to look for roles elsewhere within the company, but may otherwise face layoffs.

i'm gonna be honest. this doesn't bode well, but neither have a lot of things in the last $timeframe. i'll be sad the day it does close down; it was a big part of my life for a long time. conversely, i hope it doesn't close down any time soon, not jsut for the employees working on it but the people who still enjoy the game. daoc is still going, i guess, even if i have no idea how well or otherwise the game fares. time, as always, will tell.

[felassan]

New BioWare Blog post:

"The Future is Bright for Star Wars™: The Old Republic™

by BioWare - Posted on June 27, 2023

Hello,

It’s been a little while since I’ve checked in, and as you might have heard, there’s a lot happening here at BioWare. 

Almost 12 years after launch, Star Wars™: The Old Republic™ remains a fantastic success, continuing to welcome new players to its vast galaxy and entertaining veteran players with its evolving content. It’s the longest-running live service Star Wars game ever and we’re enormously proud of the work the team has done in creating, expanding, and maintaining this incredible game. We’re delighted to have grown such a dedicated and passionate community through all these years. The future of the game and the community continues to be very bright.

I’ve been working closely with Keith Kanneg, who leads the SWTOR team, to give the game and the team the best opportunity to grow and evolve. And so, while EA will remain SWTOR’s publisher, development of the game will move to our partner and friends at Broadsword, a boutique studio with expertise in managing online games. Both the Broadsword studio and SWTORSWTOR team members will be joining forces and working tirelessly to support “every player, every day,” ensuring that these worlds and these communities continue to thrive and grow. Their Founder and President, Rob Denton, even has direct experience with so, having helped lead the team during the development and launch of the game during his time at EA.

So what does this mean?

Well, most importantly, it means that players will continue to enjoy the SWTOR they know and love, and as Keith mentioned in a recent community post, all current plans are still in place. There are also exciting new features planned that the team is not quite ready to talk about yet, but suffice it to say that players can expect improvements and new content into the future. This is a company that will give SWTOR the room to grow and flourish, with the continued commitment and full support of Lucasfilm Games, and the continued partnership with EA.

No big change comes without challenges. Among them is the fact that most of the current team will be invited to accompany the game on its move to Broadsword, though unfortunately not every role will make the move. This is the hardest part of this transition, and these decisions were not made lightly. We are of course doing everything we can to support the affected team members, who have an opportunity to find new roles within EA. In addition, we’re aware that the team members who are being asked to move to a new studio will also be adapting to change, and we will be working with Broadsword to make the transition as comfortable as possible. 

In the long run, though, we are confident that this is the best decision for the game and its community. We at BioWare will miss being a part of SWTOR’s story going forward. But we also know that it will be in very good hands.

As we look toward the future, BioWare is focused on being a leader in developing immersive, emotionally charged, single-player games, with teams primarily in Austin and Edmonton. This means a renewed focus on our two key franchises: Dragon Age™ and Mass Effect™. For Dragon Age, we continue to build, polish, and tune an exceptional experience we know our fans will love. We can’t wait to share more on this soon. For Mass Effect, we continue pre-production with a core team of veteran storytellers who are bringing the deep franchise history forward in a spectacular new way.

I’m excited about the opportunities that lie ahead, and Keith wanted to share his own thoughts about the transition. 

Stay well,

Gary McKay General Manager, BioWare

----------

Hi folks!

I’ve been a part of SWTOR since well before launch and it’s been an incredible journey. I ended up taking on many different roles on the team over that time, so I’ve seen this game from just about every different angle there is. And honestly, I absolutely love this game—not to mention the people who continue to make it fun. Even after almost 12 years, I see so much room for growth and so much potential in SWTOR.

I know decisions that impact our people are the hardest part of change and evolution, but I believe Broadsword is the right studio to continue to enhance and modernize our game—and also expand the number of people who can play it.

Of course, I’m also very glad that I’ll be moving over with key team leaders and continuing to work with most of our current team. This team has never stopped excelling, even proudly delivering an amazing update 7.2 Showdown on Ruhnuk over the holiday break—along with technological improvements like our new fast launcher, 64-bit client, and Cloud Game Servers. I can’t thank them enough for their passion and dedication in bringing these experiences to life for our players.

I also want to thank EA and BioWare for all they have done for me and this team, not to mention all our friends at Lucasfilm Games, whose support and collaboration have helped make all this happen for us. They’re the best, and I look forward to continuing to work with them.

We are excited about the future of SWTOR, and once we get our feet firmly planted at Broadsword, we look forward to sharing plans for game direction and improvements. Until then, rest assured that all the current plans are still in motion! 

As examples, we just delivered our largest story update in months, and a new story flashpoint with Game Update 7.3: Old Wounds, taking us back to the planet Voss, which we haven’t visited since our KOTET expansion back in 2016. We will also be rolling out Game Update 7.3.1, which will contain our next Galactic Season, in the coming months. And stay tuned for details on Game Update 7.4, where players will see the story continue following the events of Old Wounds. And there’s even more on the horizon. We will continue to publish communication on swtor.com and the SWTOR forums, as we always have, so you will be hearing from me again soon.

No change is easy, but it certainly helps that we’re all excited about the future of this very special game. We look forward to seeing that vision become reality alongside all our players and fans. 

May the Force be with you,

Keith Kanneg Executive Producer, Star Wars: The Old Republic"

[source]

[lecameleontv]

Le 07 novembre 2023 à New-York (USA), l'acteur James Denton a assisté à la projection spéciale du TVfilm Christmas on Cherry Lane de la chaîne Hallmark.

Un échange a eu lieu avec les spectateurs. Pour tous ceux qui n'ont pas pu se déplacer, un deuxième échange virtuel via la réseau Facebook a été organisé le lendemain.

Cette projection spéciale, honorant les premiers intervenants et les militaires du pays, s'est tenue à l' AMC Lincoln Square Theater.

A ses côtés : - ses partenaires du téléfilm, Catherine Bell, Vincent Rodriguez III, Jonathan Bennett, Erin Cahill et John Brotherton; - le scénariste Rick Garman; - la responsable de production Samantha DiPippo; - la directrice de production Candice DiLavore; - la responsable de la communication de la chaîne Annie Howell;  - le réalisateur Gail Harvey; - Breanne Heldman et Rob Bruchman; - les actrices Alicia Witt, Ginna Claire Mason, Ashley Williams, Nikki DeLoach, Kimberley Sustad, Cindy Busby et Taylor Cole; - les acteurs Benjamin Ayres, Kristoffer Polaha, Victor Webster, Will Kemp, Paul Campbell, Andrew Walker, Steve Lund, et Tyler Hynes.

Photos : Craig Barritt Sources : @hallmarkchannel et Getty Images - Hallmark Media

Alias Mr Lyle dans la série Le Caméléon

[fearsmagazine]

DRACULA, A COMEDY OF TERRORS - Review

DATES: Sept. 4th, 2023 – Jan. 7th, 2024 COMPANY: Drew & Dane Productions THEATER: New World Stages, 340 West 50th Street, New York City ACTORS: Jordan Boatman, Arnie Burton, James Daly, Ellen Harvey, Andrew Keenan-Bolger, Kaitlyn Boyer and Sean-Michael Wilkinson. CREW: Director/Writer - Gordon Greenberg; Writer - Steve Rosen; Producers - Drew Desky and Dane Levens; Scenic and Puppet Designer - Tijana Bjelajac; Costume Designer - Tristan Raines; Lighting Designer - Rob Denton; Original Music and Sound Designer - Victoria Deiorio; Wig and Hair Designer - Ashley Rae Callahan.

(L-R) Andrew Keenan-Bolger, Jordan Boatman, James Daly, Ellen harvey and Arnie Burton in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

SYNOPSIS: A pansexual GenZ Count Dracula is in the midst of an existential crisis. When he sets his sights on the brilliant young earth scientist Lucy Westfeldt, he meets his match for the first time – as well as a slew of other colorful characters including vampire hunter Jean Van Helsing, insect connoisseur Percy Renfield and behavioral psychiatrist Wallace Westfeldt, whose British country estate doubles as a free-range mental asylum.

(L-R) Ellen Harvey, James Daly and Arnie Burton TERRORS. Photo by Matthew Murphy

REVIEW: Horror comedies come in only two flavors - good and bad. DRACULA, A COMEDY OF TERRORS is a sensational, decadent satire that is the perfect treat for the Halloween season.

Gordon Greenberg and Steve Rosen's satirical and irreverent treatment of the Stoker novel resides somewhere in between “The Rocky Horror Musical” and a Monty Python film, with flares of the immortal Charles Ludlam. The tone is set right from the start as the cast tosses the novel and the hilarity begins. The previous productions of the play, including an adaptation of the piece as a radio play for The Broadway Podcast Network, clearly have sharpened the dialogue and wordplay to a razor sharp wordplay duel that had the audience laughing out loud within the first few moments. The writers have trimmed the novel down to a 90 minute tale that tries to incorporate key elements of the story, taking liberties with the novel’s climax to nicely dovetail with the themes of their play. The satire runs the spectrum from that of the novel, political, contemporary pop culture, and gender. Except for Dracula, the other actors have dual or multiple roles where the juggling of the characters adds to the merriment.

James Daly and Jordan Boatman in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

Gordon Greenberg’s direction is superb. It is a finely tuned choreography of dialogue and movement that harkens back to the golden era of silent films to the Marx Brothers. There are some delightful props, including puppets, that add yet another level of humor to the production. Greenberg turns up the energy right at the start and maintains it for 90 minutes, giving the audience little time to recover from the side splitting laughter.

James Daly and Andrew Keenan-Bolger in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

Tijana Bjelajac’s Scenic Design is a wonderful minimalist and still adds atmosphere to the production. Integrated into the set are nice visual and functional elements that are scaled down for an off-broadway production but are lavish enough, and easily would work for a Broadway staging. Tristan Raines’ costume designs are fabulous. The designs capture the period but also combine contemporary elements that highlight the performances.

Arnie Burton and James Daly in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

DRACULA, A COMEDY OF TERRORS features an award worthy ensemble cast. The delivery of lines, the body language and facial expressions, their interactions are flawless, and if there were any misfires I didn’t notice. There was a fluidity to their performances that at times it felt like choreography. James Daly is outstanding as Dracula. He is as dynamic and enchanting as Tim Curry’s Dr. Frank-n-Furter, combined with the physique of Rocky. He delivers this multifaceted performance rich with comedic timing. Actor Arnie Burton steals the show as both Mina and Jean Van Helsing. He creates two unique performances that embodies the comedic prowess that is reminiscent of Milton Berle to Harvey Fierstein, with a dash of Bugs Bunny. In contrast, actress Ellen Harvey brings to life Wallace Westfeldt and Percy Renfield. She brilliantly effects switching between the two extremes that eventually becomes an uproarious gag in play. The cast does an astounding job of maintaining the energy level of the play for 90 minutes.

Andrew Keenan-Bolger and Jordan Boatman in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

DRACULA, A COMEDY OF TERRORS is a side-splitting tour de force that would leave Bram Stoker and Mel Brooks rolling in the aisles, and maybe a bit envious. I’ve always advocated that there is a distinct bond between comedy and horror, and this is at its finest. Outstanding performances, fabulous production designs, brilliant directing, all deliver an energetic feel good and memorable theater experience. You must bring your friends for a night you’ll long remember as the perfect treat of this Halloween season.

James Daly in DRACULA, A COMEDY OF TERRORS. Photo by Matthew Murphy

Opening night is September 18. Performances are Monday, Wednesday, Thursday and Sunday at 7PM, Friday and Saturday at 8PM, with matinees Saturday and Sunday at 2PM. Tickets are $99 - $119. Premium seating is available. Tickets are now on sale at Telecharge.com, (212) 239-6200. For more information, visit www.DraculaComedy.com.

Review By: Joseph B Mauceri

Listen to our interview with director & co-writer Gordon Greenberg & co-write Steve Rosen on creating DRACULA, A COMEDY OF TERRORS – HERE

[noloveforned]

it's friday night and no love for ned will be on wlur from 8pm until midnight tonight. tune in and pencil in tomorrow afternoon instead to catch up on the latest episode of (popular streaming show). if you just have to know what happened, you can use tomorrow afternoon to catch up with last week's show below!

no love for ned on wlur – april 21st, 2023 from 8-10pm

artist // track // album // label drive-by truckers // this fucking job // the big to-do // ato class // inspect the receipt // but who's reading me? cassette // feel it doe st // this town // stepping stones // legless annabel lee // high anxiety // drift // howlin' banana sweet knives // on a grey day // spritzerita // fdh boygenius // satanist // the record // interscope model citizens // animal instincts // nyc 1978-1979 // modern harmonic nicole yun // lost keys // matter // kanine terry // miracles // call me terry // upset! the rhythm the bug club // out in the streets // picture this 7" // we are busy bodies bilderine // retail trade // split seconds // grapefruit shelly fairchild and shamir // fist city // fist city digital single // kill rock stars nancy sinatra and lee hazlewood // down from dover // nancy and lee again // light in the attic esther rose // spider // safe to run // new west elkhorn // north // on the whole universe in all directions // centripetal force natural information society // is // since time is gravity // eremite rob mazurek and exploding star orchestra // dream sleeper // lightning dreamers // international anthem daniel carter, evan strauss, 5-track and sheridan reilly // hands, at the bonfire // the uproar in bursts of sound and silence // 577 wilbur niles and thrust // survival of the funkiest // thrust too // we are busy bodies first choice // chances go around // delusions // salsoul beyoncé featuring jay-z // déjà vu // b'day // columbia fats gaines band featuring zorina // i just want to freak with you // fats gaines band presents zorina // mad about u.s. girls // only daedalus // bless this mess // 4ad varsity // reference point // reference point digital single // (self-released) lachlan denton // lose // furnishings // bobo integral cindy // et surtout // why not now? // mt. st. mtn. sinaïve // ténèbres // super 45 t ep // hellzapoppin crabber // climb into my mind // greek wine 7" // old bad habits the sundries // triumph herald // full of the joys of spring ep // subjangle

[daggerzine]

MY FAVORITE RECORDS OF 2022 (all lists are in no particular order)

MY 20 FAVORITE RECORDS OF 2022

The Jeanines- Don’t Wait for a Sign (Slumberland)

Arts & Leisure- This Vast Illusion (self released)

Mick Trouble- It’s Mick Trouble’s Second LP! (Emotional Response)

Model Shop- Love Interest (Meritorio)

The Photocopies- Greatest Hits Volume 2 and Hopelessly Devoted (both self released)

Hammered Hulls- Careening (Dischord)  

Michael Head & the Red Elastic band- Dear Scott (Modern Sky UK)

The Reds Pinks and Purples- Summer at Land’s End

(Slumberland)  

Winged Wheel- No Island (12XU)

The Boys with the Perpetual Nervousness- The Third Wave of…  (Bobo Integral)  

Sick Thoughts- Heaven is No Fun (Total Punk)

Horsegirl- Versions of Modern Performance  (Matador)  

First Aid Kit- Palomino  (Columbia)

Dot Dash- Madman in the Rain (The Beautiful Music)

Superchunk- Wild Loneliness (Merge)

Ribbon Stage- Hit With The Most (Perennial/ K)

Artsick- Fingers Crossed (Slumberland)

Belle & Sebastian- A Bit of Previous (Matador)

Non Bruises- S/T (self released)

The Sadies- Colder Streams (Yep Roc)

HERE’S 20 MORE!

Panda Bear & Sonic Boom- Reset (Domino)

Papercuts- Past Life Regression (Slumberland)

Weak Signal- War and War (Colonel Records)

Librarians with Hickeys- Handclaps and Tambourines (Big Stir)

The Well Wishers- Blue Sky Sun (self released)

Armstrong- Happy Graffiti (The Beautiful Music)

The Reds Pinks and Purples- They Only Wanted Your Soul (Slumberland)  

Savak- Human Error/ Human Delight (Ernest Jenning)

Freezing Hands- It Was a Good Run (Dateland)

April March- In Cinerama (Omnivore)

Kids on a Crime Spree – Fall In Love Not In Line (Slumberland) 

Young Guv- III & IV  (Run for Cover Records)

U.S. Highball- A Parkhead Cross of the Mind (Lame-O)

Flowertown- Half Yesterday (Mt St Mtn)

Ex-Void- Bigger Than Before (Don Giovanni)

Tony Molina- In the Fade (Summer Shade)

Field School- When Summer Comes (Bobo Integral)

My Raining Stars- 89 Memories (Shelflife)

Kevin Robertson- Teaspoon of Time (Futureman)

Hater- Sincere (Fire)

…..AAAAAAAAND 10 MORE!

Almost Charlie- A Whisper in a World Too Loud (Words on Music)  

The Orchids- Dreaming Kind (Skep Wax) 

 Aarktica- We Will Find the Light (Darla)  

Extra Arms- What Is Even Happening Right Now? (Forge Again Records)

The Silent Boys- Sand To Pearls, Coal To Diamonds (Too Good to Be True Records)

The Smashing Times- Bloom (Meritorio)

The Bye Bye Blackbirds- August Lightning Complex (Double Potion Records)

The Beths- Expert in a Dying Field (Carpark)

Ghost Power- S/T (Duophonic)

Peter Astor- Time on Earth (Tapete)

I ALSO LIKED ALBUMS BY……Dazy, Eyelids, Desario, Hoodoo Gurus, Salt Lake Alley, Helen Love, Kramies, The Monochrome Set,  Anton Barbeau, Cozy Slippers, The Chesterfields, Rob Moss and Skintight Skin, Lewsberg, Richard X. Heyman, The Claudettes, Surf Piranhas, Kiwi Jr, Sault, Nervous Twitch, New Buck Biloxi, Heather Trost, Fine, Alien Nose Job, Kevin Morby, Ward White, Spiritualized , Click Beetles, Whimsical, Man’s Body, Wet Leg, The Minders,  Water Damage, Star Party, The Paranoid Style, Alvvays, Chronophage, Rolling Blackouts CF, The Happy Somethings, The Umbrella Puzzles, Zac Denton, Northern Portrait, Volebeats, Your Academy, Aluminum Group, Guy Capecelatro, Jon Spencer & the Hitmakers, The Trypes, Jeremy, etc. etc.

MY 10 FAVORITE REISSUES/COLLECTIONS of 2022  

Tall Dwarfs- Unravelled - 1981-2002 (Merge)

Broadcast- BBC Maida Vale Sessions (Warp)

Heavenly- Heavenly Vs Satan (Skep Wax)

Biff  Bang Pow! -Better Life: Complete Creations 1984-1991 (Cherry Red)

Go Sailor- S/T (Slumberland)

The Lucksmiths- Why That Doesn’t Surprise me and  Naturaliste (both Lost and Lonesome)

The Krayolas- Happy Go Lucky (Box Records)

The Flashing Lights- Where the Change Is (Murder)

The Muffs- Really Really Happy (Omnivore)

My Teenage Stride- Singles and B-sides (digital)

MY 15 FAVORITE EP’s OF 2022

The Chills- Scatterbrain Storm Outtakes (Fire)

Elk City- Above the Door (Magic City)

The 1981 - Polaroids EP (Dandy Boy)

The Persian Leaps- Machines for Living (Land Ski Records)

The Photocopies- Departure P (self released)

R.E. Seraphin- Swingshift EP (Dandy Boy/Mt St Mtn)

My Favorite- Tender is the Nightshift part 1 (HHBTM)

The Black Watch- The Neverland of Spoken Things (digital)

The Radio Field- Time Simple EP (Subjangle)

The Wends- It’s Here Where You Fall (Subjangle)  

Michael Beach- 2022 EP (Goner)

The Laughing Chimes- Zoo Ave (Slumberland)

My Raining Stars- The Life We planned (digital)

The Age of Colored Lizards (Perfect Smile (Sotron)  

Field School- Swainson’s Thrush (Small Craft Advisory)

The Lunar Towers- Hurry Up and Wait (Colorama Records)

[pavspatch]

Selling to the "real fans" would be my Utopia — Gorski

ALL those fans who wanted owner Rob Gorski to leave Bower Fold have got their way. He has resigned as chairman and Stalybridge Celtic is up for sale.

The question now, is who will buy? Is anyone able to put their money where their mouth is?

In the midst of an unprecedented cost-of-living crisis, who has the funds to buy the controlling interest in a Northern Premier League club that is bound to come with an expensive price tag?

Will it prove possible to put together a supporters' co-operative? As you'll see below, that would be Rob Gorski's preferred option, but could it happen. My own experience suggests that while many people might be prepared to buy a single share for £10 or £20, far fewer would be willing to invest the kind of much sums needed for a realistic bid.

So what does the future hold? What are Rob Gorski's plans? What does he think of Celtic's current situation? Below, is a series of questions I asked him and the replies I received.

If someone wants to buy Stalybridge Celtic, how do they register an interest?

I haven't started to officially market the club externally, yet I’ve already had three parties showing an interest. I'll be asking all parties to submit their formal bids via the club’s accountants, David Lever at Warr and Co of Denton*. If they can't find his details they can also contact me directly.

In the past you've said you were prepared to consider selling Stalybridge Celtic but only to someone with the club's best interests at heart. Do you have some sort of fit-and-proper persons test lined up?

I'll perform my own due diligence on each interested party.

Most fans won't be aware of this, but I had a potential buyer from Singapore express interest about a year ago. For Rob Gorski personally, it was potentially a very tempting financial option. However, my research uncovered someone who had his own pure financial gain as his motive and he had taken over two other football clubs before only for him to close them both and capitalise on the land.

As a Celtic fan, notwithstanding potential large sums of money, I simply could not have lived with myself and so I closed that particular door.

I'll be vetting all potential new buyers to ascertain what they can bring to the club and what their motives and goals are. I'll then balance that with their financial proposal.

Do you have a price in mind? Are you looking to recoup what you've put in over the last 20 years or just a "serious" amount?

I do have figures in mind. However, I’ve already alluded to the fact that it will be an overall “package" and the intentions of the buyer that will also play a major role.

With national government changing housing legislation on building developments, I need to ensure that a potential buyer is not just going to take a 970-year lease on land worth maybe £7 to 8 million, and leave the club hoping to ground share with a Tameside neighbour.

I'll ensure there are some guarantees with regard to Celtic’s future. That will be written in to any legal document. 

While you look for a buyer, will you remain in charge or day-to-day affairs or have you stepped down and passed on the baton? If so to whom? A person, the board as a whole?

I have stepped down due to ill health. I need to have more tests and then maybe medical procedures, and that's why I stepped down, with immediate effect, a fortnight ago.

In fact, I have not been at a game for over two months now. I miss it terribly, but I have to look after myself.

Keith Smart has been taking care of everything in my absence and will continue to drive the club forward. Keith is simply an outstanding man. Professional, diligent and utterly honest.

Fans have no idea how difficult it is to run, (practically as well as financially), a non-league, part-time, football club. People like Keith and Gordon Greenwood are worth their weight in gold. I hope that other directors, who have been "less visible" step up to help them and others.

Has there been any sign of the much-talked-about fans' co-operative?

Not a word. Conceptually, that would be my Utopia — that the fans, the real fans, own Stalybridge Celtic. However, back on planet earth, Stalybridge, the town I love, is truthfully a town entering a depression that would be socially graded as D or E. Sadly, I suspect  I won’t be hearing much back on that.

In your time as chairman/owner you put a lot of blood and treasure into the club and appointed a string of managers who came with an impressive pedigree. Why do think you were never able to achieve any success?

That's a question I've asked myself many times.

Jim Harvey’s kids were technically outstanding, but sadly lacking in physicality. Liam Watson was a major disappointment — his football was 20 years out of date — and Simon Haworth was shockingly negative.

So really, only Steve Burr brought good times the first time he was at Bower Fold in 2007-2011. The quality of football was a real joy with Dave Hankin burning down one wing and Steve Torpey down the other, with a really strong 16-man squad. It very nearly got us back up punching above our weight in National League North.

However, we’ve seen more and more clubs come through the pyramid with money I simply couldn't compete with. Not just Salford, Harrogate, Fylde and Fleetwood, but ones that came and went like Shaw Lane Aquaforce. All paying simply stupid money.

Stalybridge Celtic does not have an asset like Ashton United’s Cross Bar Club, which is effectively one of Hurst's pubs, or Hyde United’s 3G pitch, so the club relied on directors putting their hand in their pocket or an ever diminishing fanbase that was no longer attending due to Premier League lunchtime/early evening screenings.

Then there was covid, and of course the lack of a challenging team, which brings us back to the fact we simply couldn’t compete financially.  

Will you remain a fan or are you stepping away from football for good?

I will always remain a Stalybridge Celtic fan. I was a fan in the Seventies, I was when I lived in London and abroad, and I shall be until I die.

I remember telling Pete Dennerly, my predecessor as chairman, that I had some bad news for him back around 2007 when Ken Bates had invited me to join the Leeds United board. Pete fell silent, only for me to tell him the bad news was that I would only ever be a Celtic director and that he was stuck with me.

I respect other people who have been a director at different clubs. However, personally, I could never relate to that. It was Celtic or nobody for me. I need to look after my health first and foremost, but nothing will give me greater pleasure than buying Chris Willcock (a top man by the way) or Keith Smart, a beer after a great win on a Saturday afternoon next year.

Will Celtic avoid relegation?

I desperately hope so. When you see or hear about wages up and down the Northern Premier League, it makes you wonder how clubs stay afloat.

Without an asset to milk, or hugely disproportionate fan bases, clubs rely on directors and fans to cover ever-increasing costs and because Celtic have struggled financially off the field, it makes achieving success on it, much more difficult.

I think Chris Willcock has now got a much better quality squad than he had early doors. He effectively had to build it from scratch and he quickly realised he’d have to make a number of changes to ensure we could compete.

I’ve not been well enough to attend of late, so I've missed recent performances. However, I gather they are much improved and I sincerely hope and believe the lads can continue to improve and that they'll get that little rub of the green that will see them start to climb the table. 

*Warr and Co, 76 Manchester Road, Denton, M34 3PS — 0161 336 2222 — https://warr.co.uk

[grahamatkinssolicitor]

Graham Atkins Solicitor

Graham is widely-acknowledged as a leading libel, privacy and reputation management lawyer, recognised in the media, the Legal 500, Chambers and Spears for many years. He has 30 years’ experience in his field, qualifying at Dentons, then working at media and commercial firms before founding predecessor firms Atkins Solicitors, Atkins Thomson (Top Rank Legal 500) and then continuing his work with Rob Dellow and the team at Atkins Dellow. Read more: https://www.vevioz.com/grahamatkins

[leanstooneside]

Chop drop (TAWDRYYARD)

• JAMES DENTON'S CHEEK

• SOPHIA BUSH'S UPPER ARM

• CHRIS PRATT'S BUTTOCKS

• JIMMY FALLON'S FIST (TAKEN BY MAGPIE)

• KOURTNEY KARDASHIAN'S BOTTOM

• TONI COLLETTE'S TONGUE

• LENA DUNHAM'S ARM

• ANGIE HARMON'S LOWER LEG

• PENN BADGLEY'S EYE (ABDUCTED)

• STUART TOWNSEND'S NOSTRIL

• ZOOEY DESCHANEL'S BELLY (RIPPED OFF)

• GEORGE LOPEZ'S TOOTH (MISPLACED)

• CHELSEA HANDLER'S HAND (SNATCHED)

• RYAN REYNOLDS'S EAR (LOST)

• SWIZZ BEATZ'S BACK

• TRACY MORGAN'S TOOTH (GONE)

• CHERYL COLE'S HIP

• MATT LEINART'S EYELASH (WANDERED OFF)

• SARAH PALIN'S EYELASH

• SARAH MICHELLE GELLAR'S KNEE (PAWNED)

• VERA WANG'S MOUTH (RIPPED OFF)

• VAMPIRE WEEKEND'S HIP

• KRIS POLAHA'S KNEE

• DR. DRE'S HAND (EXCHANGED)

• ROB KARDASHIAN'S EYEBROW (DESTROYED)

• JAMES BLUNT'S FOOT

• JOSH DUHAMEL'S CALF

• JOHN KRASINSKI'S NECK

• MICHAEL C. HALL'S HAND

• LUKE BRYAN'S FINGER

• RAFAEL NADAL'S SHOULDER

• EDDIE CIBRIAN'S EYEBROW (MISSING)

• NICK LACHEY'S KNEE (CONFISCATED)

• CACEE COBB'S BUTTOCKS

• SHAILENE WOODLEY'S ARM

• MEG RYAN'S MOUTH

• BENEDICT CUMBERBATCH'S FOREHEAD

• SARAH JESSICA PARKER'S CHIN (PAWNED)

• KERI HILSON'S WAIST (FILCHED)

• BLAKE LEWIS'S LEG

• VANESSA WILLIAMS'S CHEEK (RETAINED)

• ELISABETTA CANALIS'S EYELASH (CONTRACT REVOKED)

• RICK SALOMON'S ANKLE (RETAINED)

• MATT DILLON'S TOE

• ADELE'S WRIST (TRADED)

• ASHLEE SIMPSON'S BOTTOM

[gameforestdach]

Die Gaming-Welt darf sich mit *Echoes of Elysium* auf eine innovative Ergänzung freuen. Entwickelt von Loric Games, lädt dieses Luftschiff-Survival-RPG die Spieler in die mythologischen Weiten des antiken Griechenlands ein und zielt darauf ab, das Genre der Survival-RPGs neu zu definieren. Mit der Einführung in eine Welt der luftigen Erkundungen und uralten Geheimnisse. Derzeit auf Steam als „demnächst verfügbar“ gelistet, lockt dieses Spiel Abenteuerlustige dazu, es ihrer Wunschliste hinzuzufügen, in Erwartung seiner Veröffentlichung. Ein Erkundungs- und Überlebensspiel in der prozeduralen Welt von Elysium. Entwickelt von Loric Games, einem Studio, das von Branchenveteranen von Mythic Entertainment gegründet wurde. Bietet eine Mischung aus Crafting, Überleben und Luftkämpfen in einer reichhaltig erzählten Welt. Über Echoes of Elysium Echoes of Elysium lädt die Spieler ein, sich auf eine Reise durch Elysium zu begeben, einen Bereich, in dem die Schönheit des antiken Griechenlands auf das Wunder mechanischer Innovationen trifft. Spieler werden ihre Flotte von Luftschiffen bauen, unerforschte Gebiete erkunden und gegen eine Kulisse von heiterem Himmel und in den Wolken lauernden Gefahren ums Überleben kämpfen. Das Spiel zeichnet sich durch seine einzigartige Kombination von Elementen aus Erkundung, Überleben und Crafting aus, eingebettet in eine Erzählung, die Tiefe und Engagement verspricht. https://www.youtube.com/watch?v=Lj7ISWg3Sq8 Wesentliche Merkmale und Gameplay Im Herzen von *Echoes of Elysium* liegt eine dynamische und prozedural generierte Welt, die sicherstellt, dass jede Reise einzigartig ist. Spieler werden durch majestätische Uhrwerklandschaften navigieren, gegen Uhrwerkmonster kämpfen und die Geheimnisse der Elyseer aufdecken. Das Spiel dreht sich nicht nur ums Überleben, sondern auch um die Geschichten, die sich innerhalb dieser bezaubernden Welt entfalten. Die Möglichkeit, Luftschiffe anzupassen und mit Freunden zusammenzuarbeiten, fügt Schichten der Strategie und sozialen Interaktion hinzu, wodurch jede Expedition zu einer einzigartigen Geschichte von Abenteuer und Kameradschaft wird. Die Visionäre hinter dem Spiel Loric Games, mit Sitz in Arlington, Virginia, wurde von Brian Johnson, Ray Soto und Rob Denton gegründet, deren kollektive Erfahrung die Arbeit an ikonischen Titeln wie Ultima Online, Dark Age of Camelot und Star Wars: The Old Republic umfasst. Ihre Expertise und Leidenschaft für Storytelling und immersives Gameplay sind in der ambitionierten Vision für *Echoes of Elysium* deutlich zu erkennen. Das Spiel zielt darauf ab, traditionelle Mechaniken von Survival-Spielen zu überwinden, indem es eine reichhaltige Erzählung mit Open-World-Gameplay integriert, um ein Überlebenserlebnis zu schaffen, das sowohl bedeutungsvoll als auch fesselnd ist. Erwartung und Community-Engagement Die Gaming-Community erwartet mit Spannung weitere Details zu *Echoes of Elysium*. Viele Fans äußern ihre Begeisterung über das Spielkonzept und dessen Potenzial. Loric Games hat weitere Enthüllungen für das Jahr 2023 angekündigt und verspricht ein Spiel, das Heldentum mit Überleben in einem erzählungsreichen Erlebnis verbindet. Interessierte Spieler können den Entwicklungsfortschritten folgen und sich an den Diskussionen auf der offiziellen Steam-Seite des Spiels und durch Ankündigungen von Loric Games beteiligen. Für weitere Informationen und um auf dem Laufenden zu *Echoes of Elysium* zu bleiben, besuche die offizielle Steam-Seite und folge den Links unten für detaillierte Nachrichten und Einblicke: Steam-Ankündigungsseite: Echoes of Elysium auf Steam Gründung von Loric Games: "Ehemalige Mythic Games-Entwickler gründen neues Studio - Loric Games" Detaillierter Nachrichtenartikel: Ex-Mythic Entertainment-Entwickler kündigen Luftschiff-Survival-RPG *Echoes of Elysium* an Schließe dich dem Abenteuer in *Echoes of Elysium* an Da *Echoes of Elysium* sich zur Abreise bereitet, ist es bereit, Spieler weltweit mit seiner

Mischung aus mythischem Storytelling, Überlebensherausforderungen und luftiger Erkundung zu fesseln. Mit seinem innovativen Ansatz für das Genre der Survival-RPGs bereitet Loric Games die Bühne für eine epische Reise durch die Himmel des antiken Griechenlands. Mach dich bereit, die Motoren zu zünden, in die Lüfte zu steigen und die Geheimnisse von Elysium zu enthüllen.

[thxnews]

8000 New Homes in Newham and Southwark

Introduction

In a significant move to address the housing shortage in London, Newham and Southwark are set to witness the acceleration of 8,000 new homes. This major regeneration investment is a collaborative effort between Homes England, the Greater London Authority (GLA), and Berkeley. Aimed at revitalizing three major brownfield sites, this initiative not only promises a surge in housing but also aims to enhance local communities with retail, leisure facilities, and essential infrastructure.  

The Heart of the Matter

The pressing need for affordable housing in London has catalyzed this ambitious project. With a commitment to ensuring that 40% of the homes across two of the sites are genuinely affordable, we expect to have the first homes ready by 2027. This initiative reflects a broader commitment to the GLA’s Good Growth agenda and the government's dedication to fostering thriving communities through well-designed homes.   Strategic Investment and Collaboration This trio of highly complex projects has faced economic hurdles and required significant upfront capital investment. However, through a pioneering partnership, Homes England, GLA, and Berkeley are pooling resources and expertise to overcome these challenges. Homes England is set to provide Homes England is set to provide Berkeley with access to a £125m loan for infrastructure works, with additional funding from the GLA to ensure the swift delivery of these homes.  

Spotlight on the Sites

- Twelvetrees Park, Newham: Transforming a 26-acre former depot into a vibrant mixed-use neighbourhood, this site will host close to 4,000 homes, a secondary school, a park, and commercial spaces. - Bermondsey Place, Southwark: On a 5.4-acre former industrial site, nearly 1,400 homes will rise, surrounded by parks, playgrounds, and commercial areas. - Beckton Riverside, Newham: Subject to planning consents, this site will see up to 2,800 homes in its first phase, revitalizing 28 acres of the former gasworks.   Community and Infrastructure at the Forefront Significant infrastructure developments, including utilities, green landscaping, and transport links, are integral to these projects. These initiatives aim not just to build homes but to create environments where communities can flourish, supported by modern amenities and green spaces.  

Voices of the Partnership

Peter Denton, CEO of Homes England, emphasized the importance of partnerships and collective will in creating well-designed, regenerated places. Additionally, Tom Copley, Deputy Mayor of London for Housing, expressed delight at the delivery of 8,000 new homes, highlighting the role of brownfield land in creating affordable housing. Moreover, Rob Perrins, CEO of Berkeley Group, underlined the significance of this innovative partnership in bringing much-needed homes to fruition on complex sites.   Summary The collaboration between Homes England, the GLA, and Berkeley marks a crucial step in utilizing brownfield land for the benefit of London's housing landscape. By creating more affordable, high-quality homes and enhancing local communities, this partnership sets a precedent for addressing urban housing shortages. As the projects in Newham and Southwark progress, they promise not only to provide homes but to foster vibrant, sustainable communities for future generations.   Sources: THX News & Homes England. Read the full article

[lesterplatt]

AUTHENTICALLY YOU from Cesar Velasco on Vimeo.

About a year ago, I drove through an ice storm from Washington DC back to Dallas in order to make Authentically You. It was an extremely difficult time for me—but because this project was so close to my heart, it got me through. Like Grandes Momentos, this piece is a personal testament to the places and people that made me who I am. Using a docu-style commercial approach, Authentically You conveys a sense of personal style and story, merging both my background in the Dallas & Denton Music scene with my craft in filmmaking. It was a challenging and cathartic revelation both on set and its final form as to who I was, who I am and who I yearn to be.

Thank you to everyone involved in this–Every single cast member and location in this piece has a strong attachment both to a very unique scene of artists and to myself. Thank you to the dedicated crew who understood the intricacies of my vision and supported me throughout it all.

Finally, I want to give a huge shout out to every single musician in Denton and Dallas and beyond. For giving me a home when I needed it the most, for being my friends when no one else would, and for inviting me in without hesitation. To the relentlessness of those living in the margins by their own means, to every artists that says “fuck you” to the status quo and dreams bigger than most people dare. To those that stay true to who they are and live with continual authenticity and intention.

Thank you for inspiring me, thank you for giving me a place. This one is for my band, my friends, and finding home in Denton, Texas.

Cast & Crew:

Production Company: HiRai Creative Writer / Director / Camera Operator: Cesar Velasco @lilceeezzz Executive Producer: Ryan Blitzer @ryanblitzer Director of Photography: Matt Sill @mattsill Producer: Caitlyn Birdsong @caitlynbirdsong Producer: Madeleine Beck @madeleine_leighh Associate Producer: Blaine Stricklin @blainedstricklin Creative Producer: Lyndsay Knecht @lynds.tk 1st Assistant Director: Gleason Barber @gleasongrills

Steadicam: KC Kennicutt @kc_kentuckyjokes 1st Assistant Camera: Kyle Novak @kylenovakvisuals 2nd Assistant Camera: Brennan Freeze @brennan.freeze Digital Imaging Technician: David Gleason @david.gleason

Gaffer: Juan Romero @gafferjuan Best Boy Electric: Mark Herrmann   Electric: Mike Marquett @mikeymarq Electric: Roy John Bulls @royjohnbulls Key Grip: Nathan Telck @fivedogfilms Best Boy Grip: Matt Letson    Grip: Ryan Serr @rserr18 Grip: Blaine Stricklin @blainedstricklin

Production Designer: Chad Yaro @cyaro41 Leadman: Oscar Quevedo @o_quevedo Set Dresser: Magan Knuckles @glassgrip Set Dresser: Megan Koym @meggykrueger

Prod. Sound Mixer: Ferris Shaheen @gfs.sound Boom Operator: Jerry Maynard @soundmayne 

Hair & Makeup: Elinia Eads @elinia.eads

PA: David Soto @littlebigtime007 PA: Franco Mililotto @james_franco07 PA: Marvin Lanier @lanier.marvin PA: Max Soto

Editor: Jackson McMartin @postflaxenjackson Editor: Ben Montez @usernamebenistaken Color: Alice Abrams @alice.filmcolor Music and Sound Company: Sound Industries @sound_industries Composers: Nick Green and Nick Tuttle Sound Design: Reinhard Denke @reinhard_denke Sound Mix: Andrew Hulett @drewsky.hulett Drum Score: Cesar Velasco + Billie Grey Heck @lilceeezzz @billiegreyheck Drum Performance: Billie Grey Heck @billiegreyheck

Camera: MPS @mpsfilm G&E: MPS @mpsfilm Production Supplies: TX Supply Co @txsupplyrentals

Camera: Arri Alexa Mini LF @arri Lenses: Leica-R Primes @leica_camera

Drummer: Billie Grey Vracin @billiegreyheck Bandmate: Katie Reese @katie_reese Bandmate: Danny Tantrum @danny.tantrum House Venue: KiKi’s House Rehearsal Space: Rubber Gloves Rehearsal Studios @rgrsdentontx Van: Ben Scott @grave_combo Special Thanks to:  Ben Scott @grave_combo Chad Witherspoon @buffaloballet Lauren Belmore // Patrick Michot //  Rachel Weaver // Dahlia Knowles // @dhaliaqk Michale Briggs // @cereboso Rob // @hummusandbeanchips Ricky & many more

[fearsmagazine]

DRACULA, A COMEDY OF TERRORS, performances begin Sept. 4th, on at the New World Stages in NYC.

Drew & Dane Productions presents Dracula, A Comedy of Terrors by Gordon Greenberg and Steve Rosen in a limited 18-week engagement, September 4 – January 7, at New World Stages (340 West 50th Street). Opening night is September 18. Directed by Gordon Greenberg (Who’s Afraid of Virginia Woolf, Geffen), Dracula, A Comedy of Terrors features a company of fearless actors including Jordan Boatman (Medea at BAM, The Niceties), Arnie Burton (The 39 Steps, Peter and The Starcatcher), James Daly (Shaw Festival, Stratford Festival, Hulu’s “Letterkenny”), Ellen Harvey (How To Succeed, Present Laughter) and Andrew Keenan-Bolger (Disney’s Newsies, Tuck Everlasting). Tickets are now on sale at Telecharge.com, (212) 239-6200.

(L-R) ARNIE BURTON, JORDAN BOATMAN,, ELLEN HARVEY, ANDREW KEENAN-BOLGER, JAMES DALY. Dracula, A Comedy of Terrors. photo by Maria Baranova

Bram Stoker’s horror classic gets a riotous makeover in this lightning-fast comedic reimagining that celebrates goth, camp, sexuality, and the magic of live theatre. This 90-minute, gender-bending, quick-change romp features a pansexual GenZ Count Dracula in the midst of an existential crisis. When he sets his sights on the brilliant young earth scientist Lucy Westfeldt, he meets his match for the first time – as well as a slew of other colorful characters including vampire hunter Jean Van Helsing, insect connoisseur Percy Renfield and behavioral psychiatrist Wallace Westfeldt, whose British country estate doubles as a free-range mental asylum. With a cast of brilliant quick take comedians, this Dracula will make you scream… with laughter.

(Back, L-R) KAITLYN BOYER, ARNIE BURTON, JAMES DALY, ANDREW KEENAN-BOLGER, SEAN-MICHAEL WILKINSON. (front, l-r) JORDAN BOATMAN, ELLEN HARVEY. Dracula, A Comedy of Terrors. photo by Maria Barano

“In re-reading Dracula, we were surprised and intrigued by the boldness with which Stoker, a closeted gay man in Victorian England, plays with sexuality and gender norms,” says director/co-writer Gordon Greenberg. Co-writer Steve Rosen adds “we wanted to celebrate him and, at the same time, send up his moody, broody melodrama in the spirit of some of our comedic heroes like Charles Ludlam, Monty Python and Mel Brooks.” In regards to the New World Stages production, Greenberg continues, “We are so fortunate to have assembled an extraordinary company of top-notch comedic actors whose fearlessness and hilarity make the whole experience feel like a party. We hope our Dracula gives audiences of all ages the chance to forget about their troubles and just laugh their heads off for a while.”

Playwrights STEVE ROSEN and GORDON GREENBERG. Dracula, A Comedy of Terrors. photo by Maria Baranova

Dracula, A Comedy of Terrors features scenic design by Tijana Bjelajac, costume design by Tristan Raines, lighting design by Rob Denton, original music and sound design by Victoria Deiorio, and wig and hair design by Ashley Rae Callahan. General Management is by Live Wire Theatrical. The company understudies are Kaitlyn Boyer and Sean-Michael Wilkinson. Production management is by Intuitive Production Management, and production stage management is by Morgan Holbrook. Casting is by JZ Casting. Dori Berinstein (The Prom) is Executive Producer.

JAMES DALY. Dracula, A Comedy of Terrors. photo by Maria Baranova

Dracula, A Comedy of Terrors was commissioned and originally produced by Maltz Jupiter Theatre (Andrew Kato, Producing Artistic Director/Chief Executive) in 2019. In 2020, it was adapted as a radio play for The Broadway Podcast Network with an all-star cast including Annaleigh Ashford, Laura Benanti, Alex Brightman, James Monroe Iglehart, Richard Kind, Rob McClure, Ashley Park, Christopher Sieber, and John Stamos. Productions followed at Capital Repertory Theatre in Albany and Segal Centre for Performing Arts in Montreal. A hit with critics and audiences alike, Dracula, A Comedy of Terrors has been praised by the Albany Times Union as “a raucous comedy, done with impeccable adroitness …stuffed with sight gags, wordplay and lightning-fast costume changes,” and described as “a delicious comedic romp” by Berkshire Edge. McGill Daily calls the play “a sexy retelling of the classic 1897 novel that leans into contemporary gender roles with an unprecedented comedic angle. … not to be missed.” BroadwayWorld calls it a “lightning-fast, laugh-out-loud comedy.”

Dracula, A Comedy of Terrors will play a 18-week limited engagement September 4 – January 7, at New World Stages, Stage 5 (340 West 50th Street.) Opening night is September 18. Performances are Sunday, Monday, Wednesday and Thursday at 7PM, Friday and Saturday at 8PM, with matinees Saturday and Sunday at 2PM. Tickets are $99 - $119. Premium seating is available. Tickets are now on sale at Telecharge.com, (212) 239-6200. For more information, visit www.DraculaComedy.com.