The Seattle Seahawks lead the New England Patriots 9-0 at halftime of Super Bowl LX on a pair of field goals by kicker Jason Myers.
That’s a pretty low score — but it’s not close to being the lowest halftime score in Super Bowl history. That came in Super Bowl IX following the 1974 season.
In a struggle between two classic NFL defenses — Pittsburgh’s Steel Curtain vs. Minnesota’s Purple People Eaters — the only first-half points midway through the second quarter. On second and 7 from his own 10-yard line, Vikings quarterback Fran Tarkenton lost the ball and had to fall on it in the Vikings’ end zone. He was touched by Steelers defensive end Dwight White, who was credited with the sack.
It was the first safety ever in a Super Bowl, giving Pittsburgh a 2-0 lead that stood at halftime. The Steelers went on to defeat the Vikings 16-6 for their first of four Super Bowl wins in a six-year stretch.
Following the 2018 season, the Patriots led the Rams 3-0 at the intermission of Super Bowl LIII, the second-lowest halftime score in Super Bowl history, on a 42-yard field goal by Stephen Gostkowski early in the second quarter.
ANN ARBOR, Mich. — Lauren Betts had 16 points, 16 rebounds, five assists and three blocks to help No. 2 UCLA hold off No. 8 Michigan for a 69-66 win on Sunday.
The Wolverines trailed by 11 points with less than two minutes left and ended the game with a chance to tie the score, Syla Swords shot an airball on a three-pointer with 2.2 seconds left.
UCLA (23-1, 13-0 Big Ten) took a two-game lead over Michigan (20-4, 11-2) in the conference with its 17th straight victory since losing to No. 4 Texas in November.
The Bruins outscored Michigan by 14 over the second and third quarters and finished with their NCAA-best ninth win over an AP Top 25 team.
The Wolverines’ school-record nine-game winning streak in Big Ten games was snapped by a big and experienced team that plays stifling defense and is led by a 6-foot-7 preseason All-America center who does it all.
UCLA players wear pink basketball shoes to support Breast Cancer Awareness on Sunday.
(Lon Horwedel / Associated Press)
Betts was eight of 17 from the field, grabbed rebounds at both ends of the court, set up teammates for shots after drawing double teams and used her size to block or alter shots.
Her surrounding cast is talented, too.
UCLA’s Kiki Rice scored 20, Gabriela Jaquez had 13 and Gianna Kneepkens scored 12.
Michigan’s Olivia Olson had 20 points, Mila Holloway had 15 and Te’Yala Delfosse added 10. Swords was limited to eight points, missing 10 of 13 shots.
The highly anticipated matchup drew a season-high 6,108 crowd to Crisler Center a few hours before the Super Bowl.
They don’t make musicals like “Sweeney Todd: The Demon Barber of Fleet Street” anymore.
The ambition on display is awe-inspiring to an almost alarming degree. Consider the lyrical and orchestral complexity of Stephen Sondheim’s score, the way Hugh Wheeler’s book (from an adaptation by Christopher Bond) blends horror and comedy as if the two were natural bedmates and a production concept that views the material of a fiendish penny dreadful through a Brechtian lens.
Could the American theater ever again pull off such an outrageously brilliant musical experiment? Harold Prince’s 1979 Broadway premiere, starring Len Cariou and Angela Lansbury, seems like eons ago in terms of creative possibility.
This is the reason revivals, such as the solid one that opened Saturday at La Mirada Theatre for the Performing Arts under the direction of Jason Alexander, are so important. They remind us not only of the richness of our theatrical past but they also challenge our artists and producers to dream bigger in the future.
Will Swenson stars as “Sweeney Todd” at the La Mirada Theatre for the Performing Arts.
(Jason Niedle / TETHOS)
Alexander, the beloved “Seinfeld” star who made his Broadway debut in Sondheim and George Furth’s “Merrily We Roll Along” in 1981, knows a thing or two about American musicals, having served for a time as the artistic director of L.A.’s bygone Reprise Theatre Company. His direction has grown in sophistication and ease since he staged Sondheim and James Lapine’s “Sunday in the Park With George” for Reprise in 2007.
Alexander’s production of “Sweeney Todd” has breadth and heft, but also intimacy and lightness. The scenic design by Paul Tate dePOO III savors the show’s Grand Guignol flavors while leaving plenty of flexibility for antic comedy.
The barber chair, the locus of Sweeney’s revenge on the heartless cruelty of a Victorian London that wrecked his life, isn’t the elaborate contraption of other productions. His murder victims don’t fall down a chute after their throats are slit during their shave and a haircut. They have to be tilted into a dumpster that is moved into position, but Alexander makes the comic most of these clumsier stage mechanics.
Will Swenson, the accomplished Broadway actor, offers an unusually sympathetic yet never sentimentalized Sweeney. He understands that Sweeney is first and foremost a victim. The lust for vengeance eventually gets the better of him, but Swenson leads us step by step to depravity through sorrow, injustice and humiliation.
Andrew Polec, right, with the company of “Sweeney Todd” at the La Mirada Theatre for the Performing Arts.
(Jason Niedle / TETHOS)
He’s man-made rather than a natural monster. The same could be said of Lesli Margherita’s Mrs. Lovett, the proprietor of a filthy and failing Fleet Street pie shop, but it’s a shakier case. She’s the one who gets the bright idea of putting all those corpses Sweeney is intent on piling up into culinary use. Meat is in short supply, and the taboo of cannibalism is no deterrent to a woman who has taken to heart the jungle law of 19th-century British society: Eat or be eaten.
Swenson and Margherita are singing marvels, but Sweeney and Mrs. Lovett’s numbers set up Olympian challenges, vocally as well as lyrically. Their comically macabre Act 1 showstopper, “A Little Priest,” in which they gleefully imagine the variety of human pies, needs a little more time in the oven. Margherita, who played Mrs. Wormwood in “Matilda the Musical” on Broadway, is a deft clown. Swenson may be a step slower in this regard, but he plays it perfectly by accentuating the delight Sweeney takes in the merriment of Mrs. Lovett’s perverse rhyming game.
Swenson, who starred in the Broadway premiere of “A Beautiful Noise, the Neil Diamond Musical,” has a lush baritone. But Sweeney’s descent into an even lower range produces a sound that emerges from unimaginable depths. Finding the beauty in that hellish croak — something that Josh Groban was able to do in the last Broadway revival — can prove exceptionally difficult. It’s Swenson’s detailed character work as a singer that impresses most. His handling of “By the Sea,” the Act 2 duet with Margherita, forensically details Sweeney’s growing distaste for the conjugal fantasies of his partner in crime.
Allison Sheppard and Chris Hunter star in “Sweeney Todd: The Demon Barber of Fleet Street” at the La Mirada Theatre for the Performing Arts.
(Jason Niedle / TETHOS)
The romantic element of Sondheim’s score is best captured in the gorgeous singing of Chris Hunter’s Anthony Hope, whose crooning of “Johanna” provokes an epidemic of goosebumps throughout La Mirada Theatre. Allison Sheppard’s Johanna, Sweeney’s daughter under the lock and key of the wicked Judge Turpin (Norman Large), warbles as melodiously as the caged birds that mirror her plight.
Nicholas Mongiardo-Cooper’s Beadle Bamford, the judge’s henchman, has a malicious ebullience all his own. He’s not as unapologetically hammy as Andrew Polec’s Pirelli, the tonsorial con man who adopts a fake mustache and an even faker Italian accent, but he lends the musical a satiric gaiety.
Meghan Andrews’ Beggar Woman and Austyn Myers’ Tobias, giving voice to the downtrodden Dickensian masses, infuse the production with the charm of their singing. Myers makes the most of one of the musical’s most beloved numbers, “Not While I’m Around,” Tobias’ duet with Mrs. Lovett that both performers bring to poignant, demented life.
Austyn Myers, center, with the company of “Sweeney Todd: The Demon Barber of Fleet Street” at the La Mirada Theatre for the Performing Arts.
(Jason Niedle / TETHOS)
Alexander’s staging occasionally overdoes the comic exuberance. The ensemble-cum-chorus, burdened with overblown asylum imagery, is sometimes called upon to inject a circus-like atmosphere, complete with acrobatics. Lee Martino’s choreography, like the production as a whole, is at its best when observing decorous constraints.
If some of the more seductive colors of Sondheim’s score get lost in the acoustic shuffle, it may have more to do with the sound system than Darryl Archibald’s music direction. Unfortunately, the shattering beauty of the music is sometimes swallowed in the devilish din.
The stark visual panache of the production, however, is an impressive sight to behold. Jared A. Sayeg’s crepuscular lighting and Kate Bergh’s humanizing costumes lend contrast and texture to the world-building scenic design.
Hats off to this Southern California “Sweeney Todd” and to La Mirada Theatre for undertaking this Herculean feat. Sondheim and Wheeler’s haunted masterpiece doesn’t need perfection to live again.
‘Sweeney Todd: The Demon Barber of Fleet Street’
Where: La Mirada Theatre for the Performing Arts, 14900 La Mirada Blvd., La Mirada
When: 7:30 p.m. Thursdays, 8 p.m. Fridays, 2 and 8 p.m. Saturdays, 1:30 and 6:30 p.m. Sundays. (Check for exceptions.) Ends Feb. 22
The duo are part of a competitive team of journalists in a 1980s Australian newsroom, with Torv playing the channel’s first female newsreader, Helen Norville.
After fighting various barriers to make her way to the top, Helen gets paired up with producer Dale Jennings (Reid).
Viewers are then thrust into the duo’s personal and professional lives as they cover major historic events such as Halley’s Comet and the AIDS crisis.
Created by Michael Lucas, the workplace drama debuted in 2021 and aired for three seasons. Each instalment earned overwhelming praise from critics and casual viewers alike.
Rotten Tomatoes reviewers awarded the drama a perfect 100% score for its first two seasons, with no score available yet for the third instalment.
Torv and Reid were showered with praise following the release, with one IMDB user raving: “The biggest news to come from the Aussie drama ‘The Newsreader’ is that Sam Reid (Dale Jennings) is sensational.”
“I suggest that his career is about to take off epically. I could see him as the next James Bond!”
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Someone else agreed: “The Newsreader is a brilliantly acted and written drama series. I absolutely love TV shows that are based around historic events and this is the best example since Mad Men.”
While a third fan shared their detailed verdict: “I consider this show a bit of a hidden gem, especially because I discovered it completely by coincidence. It’s difficult to put into words what an intense viewing experience it is.
“The backdrop setting of a 80’s newsroom is so delicious it feels like it could have been written for me personally. The rise and decay of these characters, especially the two leads BRILLIANTLY portrayed by Anna Torv and Sam Reid, is extremely captivating.”
