FDA Says It’s ‘Probably’ Okay To Wear A Face Mask That Has Expired

first_imgPhoto: www.nursetogether.com / CC BY 2.0WASHINGTON – Do face masks expire? Probably not, according to the Food and Drug Administration.The FDA posted new guidance about face coverings on its website this week.One of the most notable additions has to do with expiration dates on surgical masks.The agency says the masks may still offer protection even after they have passed their designated shelf life. That’s not to say you should re-use them.Using an expired mask is not the same thing as wearing a used one, and disposable masks should be discarded after use.The agency says that also goes for N-95 respirators, unless you disinfect it using an approved decontamination method. Share:Click to share on Facebook (Opens in new window)Click to share on Twitter (Opens in new window)Click to email this to a friend (Opens in new window)last_img read more

Violet Star Joshua Henry on Audra, Sutton and How to Eat Cheesecake

first_img Star Files On Broadway, talented people tend to rise to the top, especially young triple threats like Joshua Henry. (Make that quadruple, if good looks are factored in.) Since his 2007 off-Broadway debut in the ensemble of In the Heights, Henry has climbed the musical theater ladder with supporting roles in American Idiot and Porgy and Bess and a fabulous, Tony-nominated lead performance in The Scottsboro Boys. Now, Henry is part of a poignant love triangle in Roundabout Theatre Company’s Broadway premiere of Violet. Set in 1964, the musical centers on Sutton Foster as the disfigured title character and two soldiers she meets on a bus crossing the south, Flick (Henry) and Monty (Colin Donnell). The exuberant Henry recently chatted with Broadway.com about how the south has changed in the 50 years since Violet, his three-step shape-up plan and what he’s learned from working with Foster and Audra McDonald. Related Shows How did you get a feel for what someone like Flick would have gone through in the deep south in 1964? I’ve done a lot of research about the Civil Rights movement, and I’m fascinated with how difficult it would have been for a black man to show feelings toward a white woman in that time period. That’s what holds Flick back from Violet, although he is drawn to her bravery. Personally, I am married to a white woman [from Atlanta], and there have been no issues whatsoever. Would we have survived 50 years ago? It would have been a lot harder. Audra and Norm Lewis have led the way in terms of non-traditional casting. Is that important to you? I’ve certainly never liked the idea of being put in a box. I loved being part of shows like American Idiot and In the Heights, and I take pride in being able to sing different styles, not just “Old Man River” [laughs]. I would love, love, love to do a comedy like Gentleman’s Guide, something farcical and fast-paced, but I also want to do something that hasn’t been written yet, the story of Sidney Poitier. A lot of people tell me that I look like him. You’ve now worked with two Broadway superstars, Audra McDonald and Sutton Foster. What have you learned from them? From Audra, I learned about the deepest level of emotional commitment—her understanding not only of her role in a piece but everyone’s role, and how that informs what she needs to do. I had never experienced anyone sacrificing their body, their voice, their everything to tell a story. And Sutton? Sutton is the same way in terms of her preparation. She came into rehearsal ready to go to deep, dark places that we haven’t seen in shows like Millie, Shrek and Anything Goes. This is new territory, and her bravery is something that I admire. She’s had some difficult things in her life recently [Foster’s mother died in September 2013], but she goes full-out emotionally every night. I have soaked up so much from her and from Audra. Speaking of working out, your Broadway.com “Day in the Life” pictorial was a fan-favorite. Pretend I’m a guy your age. What should I do to look like you? I’ll give you three steps. Portion control is huge. You can eat cheesecake, you can eat baby back ribs, but you’ve got to understand portion sizes. Second, a lot of cardio. Some people think it’s a certain kind of dumbbell curl…nope. Cardio. And drink a lot of water. Violet began last summer as a one-night Encores! concert. How does it feel to have made it to Broadway? Surreal! I feel such a connection to Violet. It was the first show I did in college [at the University of Miami], and Michael McElroy, the original Flick off-Broadway [in 1997], came down and directed me. It’s full circle in many ways. Sounds like a good balance for a Broadway actor. She keeps me grounded. This business is crazy, and she reminds me of what’s important in life. Bringing it back to Violet, our relationship is just two people loving each other, without thinking about skin color. I feel so blessed. What do you love most about Jeanine Tesori and Brian Crawley’s score—especially your big song, “Let It Sing”? It’s one of the most beautiful scores in musical theater, and “Let It Sing” encompasses everything I believe about finding your voice, letting go of the past and embracing your own path.center_img Joshua Henry You’ve posted some cute Vine videos on Twitter. What’s fun about that for you? You can tell a six-second story. I recently did one about warming up for the show and one about working out. See Joshua Henry in Violet at the American Airlines Theatre. Write it yourself! You’ve composed one musical for kids [Amigo Duende, produced in 2012]. The struggle with composing is that it takes up your whole life. You have to say, “Time out, actor” and focus on writing. I also love to arrange songs—I orchestrated every song in my most recent 54 Below show, “This Is the Love,” and it was so much fun to put my own spin on musical theater songs. I love connecting with an audience in an unexpected way. You’ve worked with Ashanti twice [in The Wiz at Encores! and TV’s Army Wives]. Did you ever consider pursuing a pop music career rather than musical theater? I’ve met with development people at record labels, and I always left those meetings with not-great feelings. Record labels want a certain image. There is more to me than being a sexy Brian McKnight-type guy or a Lenny Kravitz. I want to be funny and quirky, not this big, ripped black guy singing R&B beats and bedtime songs and [he imitates Barry White] “Yeah, baby.” [Laughs.] Violet Show Closed This production ended its run on Aug. 10, 2014 View Comments You mentioned your wife earlier. [Henry married Cathryn Stringer in October 2012.] Is it true you were college sweethearts? What does she do? Yes, we met my senior year and her junior year, had a year of long distance, and then she moved here. She’s a labor and delivery nurse at New York Presbyterian Hospital and absolutely loves it.last_img read more

Some Kind of Wonderful! The Beautiful Ensemble Wins Actors’ Equity Award

first_img Beautiful: The Carole King Musical Show Closed This production ended its run on Oct. 27, 2019 Tony winner Jessie Mueller might be the headliner of Beautiful: The Carole King Musical, but she can’t do it alone! The talented ensemble of the hit musical was honored with the Actors’ Equity Association’s eighth annual ACCA Award for Outstanding Broadway Chorus on June 17. The winners of the trophy include original ensemble members Ashley Blanchet, E. Clayton Cornelious, Josh Davis, Alysha Deslorieux, Kevin Duda, James Harkness, Carly Hughes, Sara King, Rebecca LaChance, Douglas Lyons, Chris Peluso, Gabrielle Reid, Arbender J. Robinson, Rashidra Scott, Sara Sheperd, and Melvin Tunstall. Check out their shiny new trophies, then see Beautiful at the Stephen Sondheim Theatre. View Comments Related Shows Star Files Jessie Muellerlast_img read more

Odds & Ends: Sting Talks B’way-Bound Last Ship’s Rave Reviews & More

first_img View Comments Sting Talks Broadway-Bound The Last Ship’s Rave Reviews Sting, whose new musical The Last Ship is currently playing an acclaimed pre-Broadway run in Chicago, stopped by GMA on June 27 and, as we Brits say, looked chuffed to bits about the production. The Grammy winner revealed that he was “very pleased” with how the show had been received in the Windy City, although said they are “still working on it” before it begins its Broadway run on September 29. Check out the interview in full below. A Whole New World! Aladdin May Fly to London No surprise to hear that the flying carpet could be heading across the Pond. Aladdin, which has proven a shining, shimmering, splendid hit on Broadway, is eyeing a London transfer. According to The Daily Mail, a potential West End venue is the London Palladium. Directed and choreographed by Casey Nicholaw, the show is currently playing to packed houses at the Great White Way’s New Amsterdam Theatre. John Tiffany to Work on Roald Dahl Before J.K. Rowling? And there we were thinking that the next British children’s author Tony winner John Tiffany would be tackling would be J.K. Rowling! London’s Royal Court Theatre has announced its 2014-15 season and Tiffany will helm two productions for the venue: an Enda Walsh adaptation of Roald Dahl’s The Twits and Jack Thorne’s Hope. Other shows include Rory Mullarkey’s The Wolf from the Door, headlined by Four Weddings’ Anna Chancellor, Tim Price’s Teh Internet is Serious Business (it’s spelt like that), Duncan Macmillan and Chris Rapley’s 2071, Molly Davies’ God Bless the Child, Diana Nneka Atuona’s Liberian Girl and Zinnie Harris’ How to Hold Your Breath.center_img Kenny Leon & Phylicia Rashad to Star in Same Time, Next Year Time to book some plane tickets! Tony winners Kenny Leon and Phylicia Rashad will star in Bernard Slade’s Same Time, Next Year for Atlanta’s True Colors Theatre. Directed by Chris Coleman, the show will run July 8 through August 3. Holler director Leon, who won the Tony for helming the recent revival of A Raisin In The Sun, previously worked with Rashad on the 2004 Broadway revival of Raisin. Here’s a quick roundup of stories you may have missed today.last_img read more

Kathleen Turner on Playing ‘Trailer Trash’ in London’s Bakersfield Mist

first_img You’ve done several one-woman shows over time, but this is your first two-hander. What is that like? In a way it’s more difficult [than a solo play] because that relationship with the other performer is so crucial, but fortunately Ian and I come from very much the same school and so the priority for both of us every night is to listen—really listen—to one another. It’s about being really present. Do you find the audiences different? Not that much, though what I would say is that British audiences are better trained because they go to the theater more instead of it just being an occasion or an event. As a result, I think perhaps they understand better how to conduct themselves in a theater. You’re not going to find someone in the front row eating a hamburger [laughs]. View Comments You spoke a while back of wanting to play Martha in Who’s Afraid of Virginia Woolf? by the time you were 50, which indeed happened. Now that you are 60, do you have other roles on your theatrical wish-list? I’m toying with the idea of King Lear, but unlike some women who have played Lear and have made his three daughters into sons, it’s more interesting to me to keep them as daughters. The relationship between mothers and daughters is much more interesting to me and much less explored than the relationship between mothers and sons. As a longtime denizen of Broadway, you must have known Elaine Stritch, who died last week. I loved her! She was somewhat of a friend, and we would run into each other. She asked me to come to the closing show of A Little Night Music because she said that was going to be her last run. That was awfully nice. Is the painting that we can’t see an actual facsimile of the Pollock painting “Lavender Mist” that lends the play its title? It’s a darker version but in the Pollock style. This is quite the year for you and theater. You did Mother Courage at the Arena Stage in Washington, D.C. this past winter and in the fall you will head to Berkeley Rep to reprise your solo performance in Red Hot Patriot: The Kick-Ass Wit of Molly Ivins. That’s three different shows in three different cities! I love the theater more than ever. Sure, I would love to have some more time at home in New York. If and when I pick up another Broadway show, that would be lovely, but you just don’t get that much work all the time in one place. It’s important to remember that theater in America is happening nationally and not just in New York. Do you share the commonly voiced opinion that she was the last of a breed? Oh, I don’t know. Give me a few years! Are you knowledgeable about art yourself? I’m not a connoisseur, but I do have paintings that I absolutely love and am happy to have in my life, a couple of which might be considered valuable. But I don’t buy paintings as an investment; I buy them because I want to live with them.center_img Your current play starts with an intriguing premise: a woman of no particular breeding or education who comes into possession of a painting that may well be an original Jackson Pollock. Yes, [the character of] Maude Gutman is what we call in America “trailer trash,” though what’s particularly nice about Stephen’s play is that she turns out to be much more complex than you might at first think. I like the idea that you start the play going, “I know who these people are,” only to find that you are deconstructing them throughout the evening. This is your fifth show in Britain, which might be close to a record for an American actor, particularly one of your standing. Well, don’t forget that I went to the American School here, so I lived in London between 1968 and 1972. This is where the dream [of being an actor] started. This is where I realized what I wanted to do with my life. I’ve also always liked the fact that acting is regarded as a real career in England, so it feels very satisfying to be working in a place where theater is so much more respected. Did you have casting approval over Ian? I certainly could have said no if it had been an actor I didn’t want to work with, but I don’t think I would ever do that without trying to work together. Luckily, that discussion never came up since Ian and I clicked from the start. What about your film work? I still do things—I’m in Dumb and Dumber To, for instance! But I always knew that as I grew older there would be less and less film work for me. For that reason, I never stopped doing stage so as to keep my hand in and my confidence up. It’s amazing how many film actors I come across who may have done theater years and years ago and tell me that they’re now too frightened to go back to the stage. I like the fact that the painting itself—which Ian McDiarmid’s art-expert character has come to Maude’s Bakersfield trailer home to authenticate—is never actually shown to the audience. So do I, and to my mind it was never a question of seeing the painting. That would have destroyed any possibility of believing it could be a Pollock because you’re never going to have an actual Jackson Pollock left on stage, so you would immediately go, “That’s not real.” It’s far better to let the audience decide for themselves. Film star Kathleen Turner is no stranger to the British stage, having twice appeared out of town at the Chichester Festival Theatre (in the solo play Tallulah and Somerset Maugham’s Our Betters) and also twice in the West End (in The Graduate and Who’s Afraid of Virginia Woolf?). Turner is back on the London boards this summer appearing opposite Tony winner Ian McDiarmid at the Duchess Theatre in American dramatist Stephen Sachs’ two-hander, Bakersfield Mist. The play, inspired by real events, casts the inimitably throaty Turner as a California ex-bartender who may or may not own a Jackson Pollock painting worth millions. Broadway.com caught up with the two-time Tony nominee to talk about her love of theater, her personal history with London, the value of art and more. There’s also the nice suggestion within the play that perhaps the value of art isn’t just about the price tag. Absolutely, and I think so much of the value of art depends on what the owner values. If you value money, then a very valuable painting will be of value to you for that reason, but if you just value the colors or shapes of a painting, then it doesn’t really matter what the price tag is.last_img read more

The Fans Have Spoken! Broadway.com Readers Cast Trina in Falsettos

first_imgJACKIE BURNS LESLI MARGHERITA ANNALEIGH ASHFORD MEGAN HILTY SIERRA BOGGESS Star Files SUTTON FOSTER LAURA OSNEScenter_img LAURA BENANTI View Comments Falsettos is coming! Falsettos is coming! The beloved William Finn and James Lapine musical is returning to Broadway in spring 2016, and in honor of the good news, we asked Broadway.com readers to decide who should play charmingly neurotic Jewish mom Trina in the new revival. You guys took to the awesome top-ten ranking site Culturalist.com to cast your votes. The results are in…here’s who came out on top! IDINA MENZEL STEPHANIE J. BLOCK Idina Menzellast_img

Alex Sharp on His ‘Complicated’ Feelings About Leaving Curious Incident

first_imgIn the corporate world, employees leaving a job are often asked to sit through an exit interview with HR about their time at the company. That concept doesn’t exist for Broadway performers, but we love checking in with stars as they finish up a successful run. Alex Sharp, who made an extraordinary Tony-winning Broadway debut as Christopher in The Curious Incident of the Dog in the Night-Time, will play his final performance in the role on September 13. We asked Sharp to take Broadway.com’s Exit Interview to tell us all about what he’ll miss, what he learned and more about his astonishing year.How did you feel when you first got this job?Surprised and extremely excited for the opportunity to work my ass off and bring to life a truly unique and beautiful character. Later I did feel a lot of pressure and tried to ignore it the best I could. The only genre of pressure I could not ignore was related to the fact that to take this part on you are representing something and someone that means a great deal to many people. I still feel that pressure today, but it is also what has made it easy to work incredibly hard throughout the 400 and something shows we have done together at the Barrymore.How do you feel now that you’re leaving?It’s complicated. I feel like I am abandoning Christopher on some levels, that I should keep voicing his story, and that hurts. I love him so, so much. But, such things must come to an end. It has been at times an immensely painful experience, getting to the emotional place that the play demands, day after day after day. That said, it was more than worth it. Christopher has taught me so much; he was kind and he was cruel to me. I need to get back to being Alex now, and move on to new and exciting challenges in my career—and repair the extensive damage I have done to my body!What are three words you would use to describe your experience?Extraordinary. Profound. Meaningful. And confetti.What was the easiest thing about this job?Honestly, nothing about it was easy. But that is what I loved so much. I don’t like doing things that are easy!What was the hardest thing?There were many things that were challenging: The physical pain from the injuries, doing a great deal of press while performing at night, screaming that much every night was hard, too. I guess the hardest thing was letting the character take me over. It is what I had to do, I felt, to do the most possible justice to the character, but there were some times it went quite far. That said, nothing—and I mean nothing—out weighs the beauty and rewards of playing this part. It is my job to go there, and push myself, and I loved him and love it more than I can tell you in words.What was the highlight of your time at this job?The greatest award any actor could win on this planet, I had already won on the first day of rehearsal. And that is to be working with a company that soon came to feel like a family. A group of not only exceptional actors, but also just people that I loved and admired and learned from. I had to set aside a separate time every day to warm up, because in the group warm-ups, we would just sit around talking and enjoying each other’s company. It was awesome. This is an ensemble show and without one of the amazing team members in that cast, it would not work.What skills do you think are required for future job applicants?“Applicants” LOL. This interview is so official So many. It takes quite a variety of skills to play this character, and I came in with some of them down, and some of them I had to learn real fast—on the job. Everyone entering into this play will come in with something different.What advice would you give to future employees in your job position?Eat well. Sleep well. Hydrate well. Stay focused. Love Christopher.How do you think you’ve grown?I’ve grown as an actor. I am more confident within my art form. I have also grown as a person. I am more compassionate, generous and less judgmental. Thank you, Christopher.Why are you leaving?To move on, and to rejuvenate… It has been over a year, after all. I need to heal!What will you miss the most?Everyone who works at the Ethel Barrymore Theater. And the fans. Coming out of the stage door, spending time with people, hearing why the story resonates with them specifically. I could not have done this without them. I needed their support, Christopher needed their support, and they gave it endlessly. For that I will be forever grateful. After all, that is what theater is all about… people. And I’ll miss my dresser Jim, he is a special person and he makes cups of tea that the Queen of England would be spoiled to get.Additional comments: Thank you to the Broadway community. You made me feel so at home . Thank you so very much—it means more than I can put down in words. I’ll be back. Until then, much love and confetti and stay awesome! Show Closed This production ended its run on Sept. 4, 2016 The Curious Incident of the Dog in the Night-Time Related Shows View Commentslast_img read more

Odds & Ends: Sutton Foster & Christina Aguilera Team Up & More

first_imgHere’s a quick roundup of stories you may have missed today. Sutton Foster, Bernadette Peters & Christina Aguilera Team UpStrangers in the night! Tony winners Sutton Foster and Bernadette Peters, along with Grammy winners Christina Aguilera, Sting and Fantasia, are just some of the big names tapped for upcoming concert SINATRA: Voice for a Century. Directed by Lonny Price, choreographed by Joshua Bergasse and hosted by Seth MacFarlane, the celebration of Frank Sinatra’s centennial is scheduled to take place on December 3. Proceeds from the Lincoln Center and New Philharmonic fundraiser will go towards the new David Geffen Hall, which will begin construction in 2019.The Lion King Sequel Sets AirdateHakuna matata! The previously reported The Lion King sequel, The Lion Guard: Return of the Roar, is scheduled to bow on November 22 7PM ET/PT on the Disney Channel. The new movie and series will focus on Simba and Nala’s second-born cub, Kion and his fellow Savanna comrades as they protect the Pride Lands. Rob Lowe takes on the role of Simba, originally played on film by Matthew Broderick, and The Gin Game’s James Earl Jones returns as the voice of Mufasa (spoiler alert: he lives in you).Watch Jane Eyre, Dangereuses & As You Like ItThose helpful people over at National Theatre Live are at it again, doing international broadcasts of shows we weren’t able to cross the pond to see. First up is the National Theatre and Bristol Old Vic’s co-production of Jane Eyre on December 8. This will be followed by the Donmar’s revival of Christopher Hampton’s Les Liaisons Dangereuses on January 28, 2016 and the National Theatre’s production of Shakespeare’s As You Like It on February 25, 2016. Before all that, of course, we have Benedict Cumberbatch’s epic performance of Hamlet to look forward to on October 15. An embarrassment of riches, indeed!Julian Ovenden Set for U.K.’s The Sound of Music Live!Julian Ovenden, who will take the Carnegie Hall stage alongside Sierra Boggess on October 9 to sing Rodgers and Hammerstein classics, is set to continue to do so! The British stage and screen fave will play Captain Von Trapp in ITV’s live version of The Sound Of Music this holiday season. Directed by Coky Giedroyc, the Daily Mail reports that the cast will shoot a version in advance for “safety.” It’s probably wrong to admit, but…Watching to see if anything goes wrong with these live broadcasts is one of our favorite things about them!Courtney Reed’s a Model JasmineAladdin’s Courtney Reed recently walked a specially constructed runway at the New Amsterdam Theatre modeling a Disney Fairy Tale Wedding dress based on her character, Jasmine. Her boyfriend Brock was there to cheer her on (and maybe get some inspiration?!). Check out the adorable Reed in her Alfred Angelo number below and have a shining shimmering, splendid weekend! View Commentslast_img read more

Rhiannon Giddens & Savion Glover to Join Cast of Shuffle Along

first_imgRhiannon Giddens & Savion Glover(Photo: Paul Morigi/Getty Images & Bruce Glikas) View Comments Shuffle Along Grammy winner Rhiannon Giddens will shuffle along to her Broadway debut this summer. The folk singer will step into the role of Lottie Gee in the Tony nominated Shuffle Along, Or, The Making of the Musical Sensation of 1921 and All That Followed.The news arrives hot on the heels of Audra McDonald’s announcement that she and husband Will Swenson are expecting a baby. McDonald is set to play her final performance on July 24; she was initially slated to leave on June 20 to make her West End debut in Lady Day at Emerson’s Bar & Grill. The production has been postponed, and McDonald is set to return to Shuffle Along this winter.During the hiatus, the show’s Tony-winning choreographer Savion Glover will also step into the musical. Details on Glover’s track have yet to be announced. Broadway.com recently spoke with Glover and director George C. Wolfe, during which time the two joked about the idea of the choreographer taking center stage at the Music Box Theatre.Giddens’ solo album Tomorrow Is My Turn debuted in February 2015 and earned her a Grammy nomination for Best Folk Album. As part of the band Caroline Chocolate Drops, she won a Grammy for Best Traditional Folk Album for Genuine Negro Jig and was nominated again for Leaving Eden. She is also a classically trained vocalist.Glover is a longtime collaborator with Wolfe: he won a Tony for choreographing Bring in ‘Da Noise, Bring in ‘Da Funk (for which he was also nominated for his performance) and appeared in Jelly’s Last Jam. Glover earned an additional Tony nod for his featured role in Black and Blue and is nominated this year for Shuffle Along.The new show explores the backstory of the 1921 musical Shuffle Along as it follows the creative team and performers who brought it to life. In addition to McDonald, the current cast features Tony nominees Brandon Victor Dixon and Adrienne Warren, as well as Billy Porter, Brian Stokes Mitchell, Joshua Henry and Brooks Ashmanskas.center_img Show Closed This production ended its run on July 24, 2016 Related Showslast_img read more

Suffering Ga. Dogwoods

first_imgUniversity of Georgia horticulturists say dogwoods areone of the first landscape trees to suffer when conditions border on drought.”The first sign that your dogwoods are suffering from lack of rain is wiltingleaves,” saidJim Midcap, an Extension Service horticulturist with the UGA College of Agricultural and Environmental Sciences.”The leaves will become limp and hang down.”Brown, scorched leaves are sure signs of severe drought damage.”Drought-damaged dogwoods will develop leaf scorch, which starts as a brown bandaround the outside of the leaves,” Midcap said. “The cells on the outside of theleaves begin to die, and this turns the leaf edges brown.”The leaves will eventually turn totally brown if the lack of water continues.To keep your dogwoods from developing leaf scorch, begin watering them at the firstsign of wilting.”Early-morning watering is the most efficient time,” Midcap said. “Ifyou water in the heat of the day, you lose water to evaporation.”Water dogwoods at ground level from the base of the tree out to the edge of the canopyor drip-line. “It’s best to use a soaker hose around the drip line,” Midcapsaid. “This allows the water to be absorbed by the ground rather than run off.”A good watering of one inch once a week should be plenty for most parts of Georgia.However, sandy soils may require watering more often.”Dogwoods actually suffer due to human error,” Midcap said. “Theirnative habitat is the forest. But people insist on planting them in their lawns in fullsunlight.”Dogwoods are understory trees. They grow best in the shade. “Their root systemsperform best in wooded areas with a cool organic mulch,” he said. “That’s theirnative habitat.”Midcap recently traveled through a northeast Georgia town and was amazed to seedogwoods planted around the town square.”They were planted in full sun with turf grass growing at their bases,” hesaid. “They really suffer between the sun and the competition from the turf grass forsoil nutrients.”Thinking of adding dogwoods to your landscape? Midcap has some tips to keep in mind.”Keep the competition away, and plant them in some shade,” he said.”Plant your dogwoods four to six feet away from other landscape plants and trees. Andkeep the base of the tree clear of vegetation.”Add two to three inches of organic mulch, such as pine straw or pine bark nuggets, tohelp your dogwoods’ performance. “Don’t use rock mulches around trees and plants, asthey absorb heat,” he said.Consider trying the kousa or Chinese dogwood when adding new dogwoods to yourlandscape. “They’re quite a bit tougher than the native dogwoods,” he said.”And they maintain green foliage better.” GEORGIA DOGWOODS NOT CONFUSED, just thirsty, say UGA experts. Drought damage like this leaf scorch can’t be reversed, but home- owners can prevent further damage with consistent, thorough watering. Early- morning drip watering is best for trees and shrubs and gets most of the water to the plant roots, instead of allowing it to run off. (Photo courtesy the UGA College of Agricultural and Environmental Sciences.) Dogwood trees in Georgia may appear to be confused about the season as their leavestake on the look of fall. They aren’t confused. They’re thirsty.center_img Sharon Omahen — UGA CAESlast_img read more