WE’LL REMEMBER ALWAYS…

This weekend, a person that this writer knows, a parent of an eighteen year old daughter, will experience the same daughter graduating from high school. The school, a public institution as part of the Los Angeles Unified School District (LAUSD), will be hosting their ceremony on a Sunday afternoon taking place at the outdoor track and field stadium located behind the main school facility. There will be some sixty or so students donned in their royal blue caps and gowns to take part in this ceremony where they will be awarded their sheepskins acknowledging that they have graduated from high school after some four years worth of education and related activities.

There will be a guest speaker present, a lower level community spokesperson involved within the regional political scene (and a former student as the same high school) that will wish everyone well within their new life journeys they face ahead. They may take up a college level education, or they may be involved in some form of employment. A few might take a stint in the military, while another few may take a year off in order to “find themselves”. Whatever the case, these soon-to-become adults are now entering another milestone in their domestic life by holding the choice of taking on a new path in what they are going to do with themselves for the next few years.

This same writer was lucky enough by the parent (Ia single parent due to a divorce that occurred a few years beforehand) for yours truly to be invited for the ceremony. It’s scheduled to take place outdoors at the stadium–or actually, it’s going to be held while those attendees will be seated on benches placed on a set of metal bleachers as the graduates will be gathered on the field seating along a wooden platform in the front center of the bleachers with a podium placed off to the side of the platform (what side of the platform is yet to be reviled) where the hosts of the event will say a few things before it’s time to fob off the diplomas to the graduating class.

This kind of event is the type of moment that is part of one’s domestic life living (and perhaps growing up) within a urban/semi-urban setting. These kids (or soon to be adults in age, not necessarily in mind and spirit), have been enrolled in some sort of educational curriculum that would be equivalent to a method in what’s known as “high school” for the past four or so years, running the age gambit between fourteen and eight years old. Some of these folks may be a bit younger in age than the others. A few may even be older. However, they all fall within the period where they moved from being “tweeners”, (older than kids, but younger than teens), and the time they are between eighteen and twenty-one–the period that they are legally classified as an “adult”.

In the media, the so-called high school life is perhaps the most favored period to depict young people going through their motions. Countless TV shows, as well as a few from the days of radio, had as their focus characters and settings that revolved around young folks in and around a high school. A few of these media properties also focused on teachers that are part of a high school. The adults in this case may be depicted as the leading stars, but the kids enrolled in the high school play off of the adults, making these characters more profound as the ones much older.

The same goes for feature films where much of the plotting takes place in or near a high school. These form of properties (movies and TV shows) tend to cater to those that are either high schoolers themselves, or to those that have yet to reach that high school period in their lives. The folks at The Walt Disney Company tends to play out their high school antics properties using this method of pre-high school demographics. Perhaps the best known of the recent bunch was the rather successful 2000s-era TV series High School Musical. In this series, a group of rather sanitized kids attending a high school located in Anytown, USA are connected to a program where they are part of a stage musical of some sort where these kids sing, dance, and do other things associated with such a Broadway-esque production. Of course, there is the usual backstage and off-stage drama that takes place among each character depicted. The adults (usually teachers and/or coaches, as well as parents/guardians) appear as supporting cast members, with the kids pretty much taking over the events as seen on TV. This program was mostly geared toward the “tweeners’–those aged as young as eight and as old as fourteen, although the bracket between ten through twelve is the program’s “sweet spot”.

Those of “real” high school age didn’t tune in because the plotting depicted within each episode wasn’t necessary portrayed as realistic or something the actual high schoolers could relate to. However, those not enrolled in high school yet may see these kind of program as events yet to come, if at all! Even if what is presented in each installment may be a little on the fake side, it’s just there to makes the series more entertaining for what it is.

After all, it’s not a documentary, so it isn’t anything that’s presented as misleading. If those tweeners who eventually go on to a high school setting do not experience those same situations as depicted on TV, then there is no one to blame except the kids that await for something to happen that may never occur!

But this article isn’t really about how high school kids are depicted through fictional depictions seen via moving imagery programs. It’s about a real high school student ready to graduate, and this writer will be a prime witness!

Even though this same writer is honored to be part of the festive festivities, it will be just another depiction of one person’s phase of growing up in the world they live in.

As for the student graduating. She will be attending college in the fall, although that college won’t be some big-deal campus located in the far (or not so far) reaches of the neighterland loaded on a plot of land full of a mix of old buildings with ivy covered walls set along new(er) structures that may be seen as architectural wonders. It will be a community college located a few miles away where she can beef up her grade point average before she is enrolled in one of those schools that have a load of ivy covered walled buildings. If the parent will be kind enough to inform yours truly on this student’s school status, perhaps we can present another article about her updated details in a future issue. In the mean time, she’s leaving high school this month, and enrolling in college sometime in the fall, right after the Labor Day weekend.

As the 1950‘s-era vocal group The Four Freshman sang about and as heard on the hit parade from not so long ago, “…we’ll remember always, Graduation Day…”
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NEWS AND REVIEWS

Theatre 40 of Beverly Hills concludes their 2018-19 season with John Patrick’s
A BAD YEAR FOR TOMATOES, a comedy of errors about an actress who settles in a rural home in New England in order to write her autobiography, and to use a creative method to fend off the locals who tend to get in her way.

Diana Angelina is Myra Marloew, an actress what’s been around for some time, usually seen on various TV programs. With much of her life already behind her, she decides to get away from Hollywood for a while to settle in a home located in Beaver Haven, Vermont to compose the story of her life. Her long time agent Tom Lamont (David Datz) makes sure she is comfortable in this home where she can have the peace and quiet she needs to conduct her writings, as well as perhaps doing a bit of gardening on the side. The moment she arrives, she is visited by a few neighbors, Cora Gump (Amanda Conlon) and Reba Harper (Ann Ryerson), who serve as an impromptu neighborhood welcoming committee. Then there is the eccentric Willa Mae Wilcox (Leda Siskind) that is paranoid with her surroundings, as well as with Myra. Rounding up the group is local farmer Piney (Jeffrey Winner) that offers to perform farm-type stuff for Myra from chopping wood to selling her manure. Since Myra can’t get any peace with this bunch, she creates a sister called Sally, depicted as a borderline homicidal maniac that’s locked up in an upstairs bedroom while wielding a mean looking pair of scissors. This new character only leads toward further complications with her friendly neighbors where Myra’s goal in writing her life story becomes a new life story into itself!

This stage piece written by playwright John Patrick is a play that is humorous in nature and concept using the characters depicted to enhance the laugh cycles as it moves in a mellow yet steady pace. The characters themselves, especially the ones that are the “yankees” of the bunch, are the most likable of them all. They are seen as a being cartoonish using a method lifted off from a sitcom. That concept is what makes this play worth all its while. All of the supporting cast members plays off the lead protagonist, an actress that is humble in terms of someone living and working in Tinseltown. Larry Eisenberg directs this stage bunch performing among one another to keep up with the humor factor this program offers.

And staying along with the New England flavor to it all is Jeff Rack’s set design that sports a lot of that so-called early American decor that was once the rage back in the day.

Also seen within the cast of characters is William Joseph Hill as a local sheriff that also speaks in that east coast “twang” the other locals dictate within their speech patterns.

It may be A BAD YEAR FOR TOMATOES, but it is a good year for Theatre 40 as this troupe is set to begin their fifty-fourth season with six unique plays that consist of three world premiers, two American premiers, and a pair of Los Angeles premiers. There will be comedy, drama, and all points in between. More details on their upcoming season can be found at Theatre 40’s website as noted below.

A BAD YEAR FOR TOMATOES, presented by Theatre 40 and performs at the Reuben Cordova Theatre, located within the campus of Beverly Hills High School, 241 South Moreno Drive (off little Santa Monica Blvd.) Beverly Hills, until June 16th. Showtimes are Thursday, Friday, and Saturday nights at 8:00 PM, and Sunday afternoons at 2:00 PM.

For ticket reservations or for more information, call (310) 364-0535, or via online at http://www.Theatre40.org
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The Road Theatre Company of North Hollywood concludes their 2018-19 season with the Los Angeles premier of Michael Perlman’s AT THE TABLE, a drama about a group of close friends who get together for a weekend’s stay that talk about the issues they care about, and the aftermath that comes within.

The setting is a cozy county homestead in upstate New York. A group of six friends meet for a weekend’s worth of good food, good wine, and their good company. Those friends consist of Stuart (Justin Okin), Nate (Christian Prentice), Lauren (Cherish Monique Duke), Elliot (Ray Paolantonio), Chris (Avery Clyde), and Nicholas (Blake Young-Fountain). They are all in their early-middle 30‘s (i.e. “millennials”), and consist of a blend of different races, ethnicities, and sexual orientations. In spite of these differences, they are all good friends! During their dinner party, plenty of wine is served. The blend of friendship and the liquid spirits gives each person a chance to talk about what is going on within their lives, as well as the opinions expressed. This form of fast paced conversations triggers a few positive points each one carries as well as revises a few sore spots. These moments of thoughts and words challenges upon how their friendship can lead toward other matters for the good and otherwise.

This work by playwright Michael Perlman can be described as a “The Big Chill” for the post-modern generation, where such mixes of different backgrounds are more accepted and tolerated then other legacy-based generations could stand. The play itself is divided into two scenarios. The first act features the above noted cast and the characters they portray. The second act takes place one year later with two new “friends” that were not around the year beforehand: Sophie (Jacqueline Misaye), and Leif (Nick Marcone). These two did replace two others that dropped out for their own reasons. Sophie and Leif also experience the good times and the conflicts that happened the year before with similar ‘stress-test’ strategies.

As to the production as presented on The Road Theatre’s intimate stage. The cast of eight perform their parts in a rather rapid pace, sometimes speaking between and on top of each others conversations–a method of communication that actually occurs in so-called “real life” when familiar groups gather to meet, greet, and bicker! This method of dialogue emoted is what makes this play work! One will actually feel much like that “fly on the wall’ to spy upon the deep secrets each one of these folks experience, for their better or for their worse!

Brian Graves’s set design also highlights this production. The setting consists of a country home complete with the touches of “rural” (sliding barn doors, hardwood flooring, fireplace as its hearth, etc.), and “urban”. (Furnishings that could have originated from Ikea, Z-Gallery, Pottery Barn, and other ‘feather-your-nest’ retailers!)
This set feels as the perfect spot for the post-college and wired generation to establish a habitat.

Directed by Judith Moreland, AT THE TABLE’s moral could be labeled as everyone has their perceptions in common, while their diversities can either bond or tear apart. Then again, serving quality wine doesn’t mean one will have quality time! Dinner party hosts–you have been warned!

AT THE TABLE, presented by The Road Theatre Company, and performs at The Road on Lankershim, 5108 Lankershim Blvd., inside of the Lankershim Arts Center, North Hollywood, until July 7th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday matinees at 2:00 PM.

For ticket reservations or for more information, call (818) 761-8838, or via online at http://www.RoadTheatre.org
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

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Details@LinearCycleProductions.com
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ACCESSIBLY LIVE OFF-LINE (C) 2019 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!

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WHAT IN THE WORD?

As with everything else, the words, phrases, and other forms of expressions that’s been part of the domestic spoken and written lexicon of communication has been evolving for nearly forever. Over time and tide, the way things are said and written advanced for the better or otherwise. What was once the standard method the way things are described may have held off in different means from one generation to the next. It’s just part of how things change as well as how they have remained the same.

Merriam-Webster, the publisher of the dictionary in North America since 1828, recently announced their latest series of words and phrases that has been acknowledged as “real words” to be added to the publisher’s entry into their dictionary, either as a print medium or as something existing within cyberspace–the place where folks usually turn to in order to find out the meaning of a word, or to find out if indeed the word in question is real. (Those Scrabble players usually perform this search in order to rack up points within their game play!)

It isn’t much of a surprise that the for noted cyberspace, or to be specific, social media, has been playing their part in creating new words that have become the way to write, speak, or even text! Within the last twenty-five or so years (give or take), the ‘net and its applications has become a way of life to many, and usage of these words has been so realized, folks may have already assumed that the words and their meanings are just part of the way everyone talks, writes, and texts.

For starters, there’s the word “influencer” that means (according to Merriam-Webster) “a person who is able to generate interest in something (such as a consumer product) by posting about it on social media.”

Then there is “buzzy” “…causing or characterized by a lot of speculative or excited talk or attention : generating buzz”: “tweetstorm” “…a series of many, often impassioned tweets posted in quick succession on the social media site Twitter”: “gig economy” “..economic activity that involves the use of temporary or freelance workers to perform jobs typically in the service sector”: and “on-brand” “..appropriate to, typical of, consistent with, or supportive of a particular brand.”. These, among many other words currently in use or soon to be created, are now part of the method of how we speak, talk, etc.

Of course, words and phrases fade in and out over the years. Some words that then had one meaning are now referred to as something else. Perhaps the most obvious term is the word “gay”, where up until the 1960’s meant “happy” and “joyous”. And there have been some words that also became popular and well known thanks to the communication that was as nearly everyone’s disposal. In the early 1960’s when “gay” still meant “happy”, The term “A-OK” fall into the lexicon since astronaut Allen Shepard used it quite often in his space flights stating “everything’s A-OK!” During that same time, the term “I kid you not!” became popular when Jack Parr used it quite often when he was host on NBC’s The Tonight Show. And when one wanted to describe the human race of some sort, it was referred to as “man” as in “mankind”. Since women are also part of the said human race, the term “man” changed in the 1970’s as “the human race”, thanks to the woman’s liberation (“woman’s lib”) movement that was going on back then.

But the way that everyone communicates will be adding new words, while dropping a few on the wayside since their meaning doesn’t hold the impact as it once did. Some of those wayside words were replaced by others such as “groovy” to “awesome”. But that is how methods of speech keep up to date, as well as how the user may evolve over their total verbiage.

It will be hard to say how such terms as “tweetstorm” will hold up in twenty years. The ‘net and its applications are a fickle bunch as many trends connected to this cyberspace tends to come and go. After all, is the term “chat room” still dropped around nowadays? (For the record, the Merriam-Webster’s meaning calls it “a real-time online interactive discussion group”)

But words as they are will be around until somebody invents a form of communication where thought patterns will be used without the forms of written and printed speech. And that form of communication isn’t as far off as one may realize! It’s coming soon to a chatroom (or is it a tweetstorm?) near you!
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NEWS AND REVIEWS

The Santa Monica Playhouse presents as its world premier, Jerry Meyer’s MISTAKES WERE MADE-COULDA-WOULDA-SHOULDA, a play about three old friends that reunite after a bitter disagreement, only for them to also reunite with the errors they made in their lives, and to realize they those mistakes can be corrected.

The place is Canter’s Deli, located not too far off from Hollywood. Dick Turner (Paul Linke), Jeff Cohen (Greg Berger), and Mel Friedman (Kyle T. Heffner), a trio of sitcom writers, meet at their favorite spot after a fifteen year leave of absence. It seems that these three had an argument over if Jewish writers are funnier then gentile writers. However, it seems that a truce should be held. From there, Dick, Jeff, and Mel confess that they themselves made many mistakes that could have been avoided, but were not. These three are aware that they are in the “late autumn” in their lives, and it’s not worth the effort of taking their disagreements to their graves. Although what they did can’t be reversed, that doesn’t mean that they could avoid such errors in the future. It’s not a story of what they should have done, but a tale of what they can do to further detour their misevaluations–with a few laughs added along the way!

This latest entry by legendary sitcom writer Jerry Meyer creates a play that shows how a group of friends that’s been around for a while can prove they are not as perfect as they may appear to be, even if each one became a success in their own right. They did experience quite a lot, and much of that “lot” became a collection of valuable lessons. That is what makes this play a portrait of a slice of life. (The playwright’s life really, but it is adaptable for many others; Be it of sitcom writers, or others that were far from perfect!) The three leads, Paul Linke, Greg Berger, and Kyle T. Heffner as Jeff, Mel, and Dick, play out their roles as three classic friends that really need one another, even if they don’t always see eye-to-eye. Their personna are depicted as a bunch of old coots stuck in their ways, but they laugh off this fact! They know what they did and are willing to change, even if they remained stubborn for a brief generation. Chris DeCarlo, co-artistic director of the Santa Monica Playhouse, directs this program that shows wit and heart. A few of the flashback scenes depicted may be projected as bittersweet. However, that is what life is all about; Comedy and drama all rolled into one!

In addition to the above members of the cast, Matt Fowler, Rachel Galper, and Christine Joelle also appear as various characters that made up the life and times of three joke writers that never lost their style of being funny!

James Cooper provides the lighting, set, and video projections that move each scene to the next, and Steve Mayer (son of the playwright), creates the musical score that is mostly background and transition music–the kind of music usually heard in TV sitcoms that are noticed for its dramatic effect around a visual show that is far from drama! But this show is funny as it stands, so comical music may be amusing, but not necessary!

For a single act production, this show is simple yet sweet. There are no real “mistakes” seen here. It could ask the time tested question if one has a chance to do their life all over again, would it be done in the same way. The answer is to perform all of the mistakes a lot sooner! Whatever the case, this show is a keeper, and that’s soon enough!

MISTAKES WERE MADE COULDA-WOULDA-SHOULDA, presented by and performs at The Santa Monica Playhouse’s 2nd stage, 1211 4th Street (at Wilshire Blvd.), Santa Monica, until June 30th. Showtimes are Saturday nights at 7:30 PM, and Sunday matinees at 3:30 PM. For ticket reservations or for more details, call (310) 394-9779 ext. 1, or online at http://www.SantaMonicaPlayhouse.com/Mistakes.html
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

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ACCESSIBLY LIVE OFF-LINE (C) 2019 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!

STILL GOIN’ TO THE MOVIES!

In the media world, there is always some form of news being announced about updates on those TV streaming services consisting of TV “channels” where one can watch content delivered through an internet-based connection either for free (with advertising) or for a monthly fee. (No ads!!) This method of information informs upon what service will be offering what, when, how, as well as how much.

From all of these details, it appears that obtaining long(er) form entertainment is more accessible than ever before! Not so much on what to see and how, but just the fact that if one wanted to view some form of content, be it a “TV” series, a feature length movie, or even short form video–content that runs ten minutes of less, then it’s available for cheap or for free!

With this being all said and done, one would think that going out of one’s way to view content for entertainment purposes would be considered as “old hat”, and perhaps something from another generation, especially to a much younger demographic. However, this doesn’t appear to be the case.

On April 26th, The Walt Disney Company released the feature Avengers: Endgame, supposedly the “last” entry to the Avengers movie series. This super-hero comic book action/adventure title became one of the top box office entries in all of moviedom. On its opening weekend from Thursday, April 25th (when it showing as a “preview”), through Sunday, April 28th, it grossed some $350 million in North America. Adding the rest of the world, that came to some 1.2 billion dollars. And these numbers only reflect the time period noted above!

Many of the numbers that came through such sources as BoxOfficeMojo.com, recorded that this movie broke many previous records in terms of the money earned through theatrical showings. The previous movies that once held said records as biggest grossing amount on a Friday, biggest international gross (international meaning outside of North America), and so on, were either the previous Avengers titles Avengers: Infinity War, and Avengers: Age of Ultron, or Star Wars: The Force Awakens. All three titles were released by The Walt Disney Company. Two other tiles once holding some kind of money making record now broken by Endgame; Jurassic World, The Fate of the Furious, and Despicable Me 3, are owned by Universal. Those movies hold a similar link as those tiles are also action/adventure comic-book-esque selections, but not falling into the “super-hero” category. And Despicable Me 3 is an animated title. That is more “comic book” than any other those making making movies noted above.

However, those numbers are from the theatrical showings, the ones where people physically head over to a movie theatre, plunk down anywhere from $5.00 to as much as $20.00 per adult (18+) for the privilege of viewing this title inside of a large darken room along with other strangers that can laugh, cry, scream, and yell with the action taking place on the big screen. This method of watching content has been around for over 100 years! The type of content screened, the way it’s presented (silent, sound, color, widescreen, 3-D, etc.) and to what is viewed and how within those methods changed over the generations, but the procedure hasn’t. It’s all the same, and for a majority of the time, somebody has to pay up for this privilege.

Of course, when television became first accessible in the late 1940’s, this was counted as “the beginning of the end” to the movie industry. Many of those big deal studios that churned out content on a regular basis (at one time, MGM used to release a movie every week!), thought that within a few years, nobody would ever see a movie in a theater when they can stay home and become entertained at for free. (Not really “free” since one had to go about to buy a TV set in order to watch the said content at home!) But unlike buying a TV set, there wasn’t anything else to pay–not counting electricity to fire up the set or to pay a TV repair man if the set itself goes on the blink!

Movie theaters however, changed admission. Depending on where one was seeing a movie, those costs could range from as little as fifty cents to as much as $4.00 based upon dollar amount values from the time period.

As one can guess, TV may have changed the ways and methods that movies are created and distributed, but movies themselves never totally went away! And the above statistics all prove these points.

So why do people still go out to the movies when they can watch content on any electronic device that sports a screen for the same price or less? Perhaps the biggest argument to this notion is the fact that it gives people a change to get out of the house, as well as experiencing something with others that react in methods the single viewer may not necessarily experience on their own! For instance, if one was viewing a comedy, then one would hear some laughs along with what was being said and/or done on screen! If the viewer was watching the same content sans audience, that joke or gag may not appear to be as humorous. It may not even be noticed! That in-person “laugh track” makes the joke more funny, depending on the amount of laughs the gag in question received! TV sitcoms always presented a laugh track that made almost every single joke, gag, or situation fall into the same level of humor, even if the person experiencing the gag didn’t think much of the schtick presented.

So what this all breaks down to is the fact that movie theaters exist so one can watch a title with built-in emotional appeal, and to get away from where one dwells. The person is inside of a place, the movie theatre, not seen as often, or never been seen before. Yes, one may have to plunk down a few dollars for this experience (not counting concessions where the theaters make their most money), but one will do so for the experience, rather than anything else. One can’t necessarily receive that same experience watching a movie (or anything for that matter) on a 50” wide TV monitor, or on a hand held device with a screen as little as 4” in diameter.

So don’t worry folks! That nearby movie house that sports as many as 30+ screens in one place won’t be going away for a while! So if one has a hankering, one can still spend a Saturday night at the movies. And who cares what picture you see! When it comes to being in the balcony with your baby may be a bit of a challenge as these same theaters no longer have balconies, and babes in arms also need a ticket, if they are even allowed inside of a moving picture house! Then again, there is always the chance that one can hand that babe a smartphone to view anything age appropriate. However, that topic is for another article as that stands!
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NEWS AND REVIEWS

Ensemble Studio Theatre/Los Angeles presents MOVING ON: THE 2019 ONE ACTS, a performance consisting of five different short plays that deal with the life and times of now.

The program starts off with Sophia Lewis’ ROCK LOGIC, directed by Katie Lindsay, where Sammy (Kait Schuster) tells her girlfriend Taylor (Saliha Muttalib) that as a child, she was assigned to be the “earth assistant” to a series of large rocks located in a nearby park where she can communicate with its spirit.

The second entry, Jeannie Webb’s SMILING CAT CANDY HEARTS, is about a newly separated couple that hold a discussion at a fast food restaurant on how they will schedule visitation custody of their twelve year old daughter who only communicates by speaking in “emojis”. Christopher T. Wood plays the father, Lauren Campedelli, alternating with Desiree Mee Jung, is the mother, and Juliette Allison Bailey, alternating with Julianna Riley, plays the daughter. Directed by June Carryl.

The next production, Ashley Rose Wellman’s THE COLD PLACE, is about Robin (Lizzie Peet, alternating with Brenda Varda), and Daniel (Wes McGee), who meet at a motel room that resemble the two having an affair. However, this meeting doesn’t turn out to be as what’s expected. Christopher James Raymond directs.

The fourth entry is Christine Hamilton-Schmidt’s POSSIBLE DERANGED LUNATIC, where a mother and her adult daughter (Sarah Brooke and Poonnam Basu) spends their late nights listing to a podcast that tells true crime stories of horrendous murders. They receive a visit from Peter (Michael James Bell) who is a neighbor that just moved in. He brings a cherry pie as a welcoming gift. Is Peter really a friendly neighbor, or does he have an evil plot in mind? Directed by William Charlton.

The fifth and final entry is Ken Levine’s SIGNING OFF, about a meeting with Teddy Hold (Nick Ullett, alternating with Michael C. Mahon), a well known late night TV talk show personality, and Josh Barnes (Clayton Farris), an up and coming stand-up comic who is chosen to become Teddy’s replacement. Is Teddy really ready for retirement, and will Josh take over to represent the new generation? Tony Pasqaulini directs.

This anthology of short single act plays (thus the title of this collection), speaks for how the times are indeed changing, while the conflicts each presentation speaks for can be as timeless. As with anthologies, it’s indeed a mixed bag as some short pieces are better that the others. However, in spite of this eclectic selection, each passing stage piece shows off its own unique voice, even if that voice falls upon a quirky slice of life as one may know of it–or not!

It’s not often that one can experience a group of short plays as this collection consists of. It’s been stated that big things come in small packages. MOVING ON.. is a stockpile of those intimate packages that hold plenty of ideas, with a few good laughs inserted to boot!

MOVING ON: THE 2019 ONE ACTS, presented by Ensemble Studio Theatre/Los Angeles, and performs at the Atwater Village Theatre Complex, 3269 Casitas Avenue, Los Angeles (Atwater Village), until May 26th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday afternoons at 2:00 PM.
For ticket reservations, visit https://dime.io/events/2019-one-acts. For more details, visit http://www.EstLosAngeles.org/2019-One-Acts
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Theatre West presents Abbott Alexander’s solo show THE LONG GRAVEL ROAD, a spoken saga about one soul’s personal journey through time, space, and reaches yet to be taken.

Abbott enter his space where he begins to emote about what he sees. Not in any physical capacity, but through points that lead up within his mind, noting a vast arrangement of thoughts. Upon entering a “dark mystical neither world”, leading toward a sprinkling of pop culture references (some well known, other long forgotten), he brings himself back to where he came and where is is heading–perhaps the fore noted long gravel road of life!

In this performance, Abbott’s one man showcase is not akin any type of single presenter’s performance. Unlike the other said shows where the performer acting as storyteller spins a narrative about a background that was experienced, he speaks in a service of prose that isn’t necessarily connected, yet forms toward a poetic stance to it all! His speech doesn’t fall as a “once-upon-a-time-I-lived-a-life” persona, but as an antidote that must be realized from the master itself. In other words, it’s a theater piece that is difficult to describe in a linear sense. One must be there to fashion it all…and what fashion! Donning an outfit of total black (t-shirt and darken slacks) hoisted on a stage that is as black, he carries on for roughly sixty-five minutes uttering his say of his unique prose sans metrical structure. It’s all Abbott standing tall on his theater podium.

Along with this vast staging of witticism, Garrett Parks provides the musically based soundscape effects seated off stage right, ranging from a rap on a drumhead, to the audio vibe of musical sounds played upon an electronic keyboard that add drama to Abbott’s speeches. His musical effects speak for its own self!

Again, this solo show as presented on Theater West’s stage is more of a poetic slam that doesn’t slam. It doesn’t suck either because it’s idiosyncratic! And yes, there is a bit of humor added to this mix of verbal prose. One may have to seek for it, but it’s indeed present. For those that desire their stage theatrics verbiage as a stand alone, Abbott’s presentation is for that fan. As the theory states, you have to be there to really receive and interpret to the message! That long gravel road is there, so take it!

THE LONG GRAVEL ROAD, presented by Theatre West in association with Pergola Productions, performs at Theatre West, 3333 Cahuenga Blvd., Los Angeles, until June 1st. Showtimes are Saturday nights at 8:00 PM.
For ticket reservations, call (323) 851-7977, or via online at http://TheatreWest.org/The-Long-Gravel-Road/
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

Details@AccessiblyLiveOffLine.com
AccessiblyLiveOffLine@gmail.com
Details@LinearCycleProductions.com
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ACCESSIBLY LIVE OFF-LINE (C) 2019 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!

STIFF COMPETITION

It is no surprise to anyone out there that this newsletter is not the only one of its kind that’s made available to anyone that desires to read it.

And rightly so! Since we began in this nonsense called “alternative journalism” some twenty plus years ago, we were one of a handful of pioneer sources to write about news and current events (or its equivalent thereof) that wasn’t necessarily found in so-called “mainstream” publications that were made available to the general public. In today’s media landscape, we are now part of the crowded areas where just about anyone and everyone can take out a part of their ever busy schedule to knock off a few words of so-called “wisdom” addressed to anyone that appreciates the attention, let alone gumption. There notes come from those that will say in a few words, “Please read me because I fell I have something to say!”…or something to that cause!

And within the last few days, weeks, months, and perhaps years, we here at Accessibly Live Off-Line central have felt the crunch. Anyone who can hack out a line or so can do so wherever they may roam, just as long as there’s a WiFi spot made available. This is true especially from those that are attending some kind of event, festival, or other place of existence that’s worth a comment or two! During a resent music based event that took place not too far away, those with their ever lovin’ phones were reporting upon the events taking place at the festival, and it wasn’t necessarily about who (or what) was performing on its stages. A lot of the notes spoke about what was going on with the person reporting the said news, usually through social media outlets. A good number (too many?) of these same reports were about “Hey! I’m here!!” and that was about it!

And these on-the-spot notes just wasn’t limited to text. It was mostly through audio and/or video streams. Thanks to such applications as “Facebook Live”, one can stream live video wherever they may be on what topic that is worth to stream about. Granted, thanks to recent events where a single person used violence to get their points across, there may be new restrictions on how these streaming applications can be used. But the idea to all of these antics in the name of journalism is the fact that anyone can do these reports under the vague title of “journalist”, and believe that they can within those realms. And the sad note to it all is the reality that it’s rather taken seriously!

This is a far cry to those bloggers that starting out on their musings to later wind up as something called “brand ambassadors”, where they receive a remunerate stipend (i.e. get paid) to hawk a product and/or service through their text/audio/video reports, usually in the form of a “review” of the said product and/or service stating that this item is the best of its kind! Since one is going to receive a pocket loaded of cash-ola just to mention the product/service, then one should state that it’s the best of its kind–don’t you think??

So what is this writer trying to get to through these musings? Well, in our first edition of this calendar year (Vol. 24-No. 1 to be exact), we have stated that we will make an attempt to give more emphasis in our program reviews and less to the weekly pondering. It’s not because we don’t have an interest in providing this said commentary. (And believe us, it’s been part of our bread-and-butter for all of these years!) But it is the fact that we find out that our readers take more of a stand through our reviews of events (especially stage theater productions) than what we would normally ramble about as an opening. And the recent data we obtained proves these points.

Every quarter, we go through an audit in terms of our circulation numbers and where our service reaches. This audit, performed by a firm that does such audits for on-line publications as ours, tallies the amount of traffic we receive each week. We can determine what days of the week are the most heaviest in terms to those visiting our website AccessiblyLiveOffLine.com, what time of day we receive the most “hits” (how often somebody visits our website), as well as where these hits come from, including those from outside of North America! There is also a point where we can find out what articles are being read (or at least glanced at,) and how often. These factors are used so we can service our audience in the best ways and means–all in the name of “science”–or something to that effect!

Upon obtaining our report for the first quarter of the 2019 calendar year (January-March, ’19 to be exact), we have found out that our theater reviews receive the most hits each and every week. Our front end articles–the article that begins our weekly editions, receive lesser amounts of hits per issue. Depending on the topic discussed within that front end article in question, those hits vary wildly. Some front end articles receive a lot of hits, while a few received very little. One issue that was released during this period received only seventeen hits as a whole, and has remained that way as of April 23rd. We won’t necessarily say what specific edition we are speaking about, but you get the idea!

So in future editions of Accessibly Live Off-Line, if you the readers do not find a front-end article, that doesn’t mean that an error has occurred. This just means that we didn’t place one in that specific edition. We will have the news and reviews placed within the edition, but since you audience members have the deep desire to read the reviews, then so be it! There won’t be any fear of missing out aka FOMO, so now you know!

And here is a disclaimer. Whenever we write a review of something or another, be it a review for a play, movie, TV program, or some other source that would fit the guidelines and standards to ALOL, please keep in mind that there reviews are not published in exchange for any monitory amount. In other words, no person and/or no other outside source is paying this writer to rant and rave about the media element being reviewed. Yes, we do obtain the media-based application for free. However, that is the only element we receive in exchange for a review. This way, we can become honest within the review.

If there is a media work we don’t care much about, then we can honestly state that “it stinks!” On the other hand, if we feel that the production is the best that we have seen of its kind, we will note that as well! Again, nobody is greasing our palms to mention that this movie/TV show/theater production/book title is indeed “the bomb!” Unless of course, it IS “a bomb”, which is the same method to state that “it stinks!” Does all of this make any sense?

So with all of these words being said and done, we will continue to what we have been doing for all of these days and times. And just as long as we can crunch the numbers as well as keeping up with the stiff competition, then we will be OK! It’s just another day in the ol’ neighborhood!
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NEWS AND REVIEWS

The Colony Theatre in Burbank presents as their guest production, OLD JEWS TELLING JOKES, a humor filled cabaret program featuring a troupe of performs that tells legacy jokes going back to the days of your grandparents and then some!

In this show, a group of five players consisting of Julien Ari as “Rueben”, Arthur S. Brown as “Morty”, Wendy Hammers as “Bunny”, Danielle Kay as “Debbi”, and Jeffrey Lesser as “Nathan” come out to bring back a series of wisecracks, gags, monologues, and one-liners that are classics with a bit of a Jewish twist added for flavor! Some of the gags are funny, a few are groaners, and some are a bit on the “blue” side! Whatever they may be, these comical interludes have been around for years. Some one may have heard for the first time, or the first time this week!

The show itself is one part vaudeville, one part burlesque, and one part old Catskills where many a comic did their shtick making their audience laugh while they spend their summers at a resort in upstate New York as they beat the heat! And with such a stage show, their are even a few musical interludes as well! Jeffery Lesser as “Nathan” provides some of the music presented as he performs on the keyboards, giving this talented cast (if not well seasoned) a chance to shine on as they go about bringing back the humor set from one era to the next!

Daniel Okrent & Peter Gethers conceived this program that borrows many of the farces that have been around for more years than one could count. But that is what the “plot” of this showcase consists of. The performers may not be that old, but they do tell the jokes–and ones that are funny as that!

Directed by Jeremy Quinn, OLD JEWS TELLING JOKES is a snappy ninety minutes full of fun and mirth that one can shake a shtick at! (Pun indented!) And one doesn’t have to be Jewish to enjoy this presentation. (It helps a bit since some yiddish is thrown into the dialogue!) Whatever the case, one will laugh their tokhes off with some of these classics! Just try to remember a few of ‘em as you gather around the water cooler at the office! And retell those proper gags for the appropriate company!

OLD JEWS TELLING JOKES, performs at The Colony Theatre, 555 North Third Street, Burbank, until June 16th. Showtimes are Thursday, Friday, and Saturday nights at 8:00 PM, Sunday evenings at 7:00 PM, with matinees Thursday, Saturday, and Sunday afternoons at 3:00 PM. For tickets and for further details, call 855-HIT SHOW (855-448-7469) or via online at http://www.PlayhouseInfo.com
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THE END OF SEX (or What’s Wrong With Mom), Gay Walch’s comedy about a mature woman’s decision to give up sex, and the people within her domestic domain that is affected by this choosing, makes its world premier at Burbank’s Victory Theatre.

Sara Botsford and Tom Ormeny are Nancy and Ken, a well seasoned couple that has been married for some thirty-six years. Ken desires to commemorate her birthday by giving her a bouquet of flowers and taking her out to dinner with their millennial aged daughter Heather (Austin Highsmith) and son-in-law Ryan (Chad Coe). Nancy makes an announcement that she desires to cease having sex. She just wants to be respected, but nothing more beyond anything of a sexual nature. Ken, still maintaining his ability partaking in this activity by taking little blue colored pills, isn’t too pleased with her decision. Neither is Heather and Ryan, as they are attempting to get their own careers and lives in check. This cascades between where the women involved stand within their fields, how the men reacts to this rather trying course of action, and to where one may be placed in terms of personal intimacy, or lack thereof.

This new play by Gay Walch focuses upon three generations of people on where a woman of her demographic remains as valid and where the men of similar beings hold on. Although sex is the focus, it’s not so much on experiencing sex, but how one finds it appropriate based upon issues from the viewpoint to the beings, and what others may find challenging. The entire storyline takes place within a twenty-four hour period, meaning that every person involved because part of the situation right away, and doesn’t necessarily conclude with a so-called happy, if not satisfying, conclusion.

As to the cast, Sara Botsford as Nancy and Tom Ormeny as Ken are the real leads in this stage piece. They are not leading because of seniority, but they play the characters that show off the most frustration. The second tier cast members in terms of age, Austin Highsmith and Chad Coe as Heather and Ryan are just as appealing, especially Coe as he sports a “cool” attitude almost akin to a James Dean-type. He takes everyone in more of a relaxed stance, but not taking a “chill-pill” to, well…chill! And rounding out the cast is Lianna Liew as Sierra, a “Gen-Y”-aged woman who served as the new generation to the frustrations (if not hang-ups) of the title physical emotion i.e. “sex”!

Along with the members of the cast on stage emoting the storyline under the stage direction of Marie Gobetti, co-artistic director of The Victory Theatre along with Tom Ormeny who appears as Ken, Evan Bartoletti’s set design of Nancy and Ken’s dwelling space resembles a cozy unit that is of cosmopolitan mid-century modern, complete with smart looking furnishings that shows that the well seasoned couple knows how to live in their progressive and personal universe.

THE END OF SEX holds to some genuine laughs, even if the subject in hand is only comical to those that maintain something of a sex life. Even for those that don’t see any end to the title emotion, it still packs a punch and can really “get it up”!

THE END OF SEX (or What’s Wrong With Mom), performs at The Victory Theatre mainstage, 3326 West Victory Blvd., one block east of Hollywood Way, Burbank, until June 2nd. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday afternoons at 4:00 PM. For ticket reservations and for more information, call (818) 841-5421, or via online at http://www.TheVictoryTheatreCentre.org
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The Los Angeles Woman’s Theatre Festival presents HOT OFF THE PRESS, a performance consisting of a collection of shorter solo stage readings that speak upon a variety of topics, focusing upon personal issues.

The performances will consist of Yvette Cason’s Real As It Can Be, where she converses on her life journey as being a musician, actor, and as a parent whose kids have “grown and flown”. The second show is Alma Collins’ Strong As Honey, that describes her connection between her mother and grandmother and how her duties as caretaker changed her own life. Winding up this presentation is Self-ish!, written and performed by Roxana Ortega where as an actor, she chooses either taking on a performing gig of a lifetime, or to become a caretaker for her mother suffering with Alzheimer’s.

Jessica Lynn Johnson and Juliette Jeffers will serve as hosts for the evening that showcases the writing and performing talents of this trio of woman that will speak on life’s own stories that make up part of the domestic landscape.

HOT OFF THE PRESS will be presented at The Whitefire Theatre in Sherman Oaks for one performance only, Thursday, May 23rd, at 7:30 PM. The Whitefire Theatre is located at 13500 Ventura Blvd., (at Sunnyslope), Sherman Oaks. For tickets and for more details, call (818) 760-0408. Online ticketing is available through Pay Pal at http://www.lawtf.org.

The Los Angeles Woman’s Theatre Festival can also be accessed through their places in social media via Twitter https://twitter.com/lawtf and Facebook
https://www.facebook.com/LosAngelesWomensTheatreFestival
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

Details@AccessiblyLiveOffLine.com
AccessiblyLiveOffLine@gmail.com
Details@LinearCycleProductions.com
http://www.AccessiblyLiveOffLine.com
https://www.facebook.com/accessiblylive.offline
@AccessiblyLive (Twitter)
https://www.youtube.com/channel/UCEHxSllfDItpWh3z8vuUb_w
(Accessibly Live’s channel on YouTube)
http://www.LinearCycleProductions.com
#AccessiblyLiveOffLine

(Look for us on Facebook, follow us on Twitter, and see us on YouTube!)

ACCESSIBLY LIVE OFF-LINE (C) 2019 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!

DESERT ISLAND TV

For some time now, many of those that write about the state of what’s known as “television” claim that this period is one of a series of “second comings” for this form of visual communication to ever come around. Beginning from the era when video content was delivered through a process of receiving signals through a TV antenna, television has become a way of life. And what better way to have that way of life mean something is to view content that is worth its time and place on a video screen, no matter what that screen is attached to.

As of this writing, streaming TV is the new way to go. This form of video is sent through an internet based connection, either through a hard line or delivered via WiFi. It’s former dominance method, cable TV, a method where its signal is carried through a coax cable, also provides content to its satisfied audience. And that for noted over-the-air variety that’s been around since the late 2000s through digital signals (based upon the method using anilog signals) also has its appeal, though it became rather tired of late.

But if one had the choice on only keep a few sources of video content through a specific “channel”, then the choice pick would speak for itself, based upon the findings of the media research firm Hub Entertainment Research.

According to their recent findings when asked through a poll stating that if one could only keep a limited number of services, which would be the pick? The survey says that Netflix, perhaps the be-all-to-end-all video channel, came in first place with 44% of those stating that they could not live without! The second channel in mind? CBS with 29%. Next was NBC and ABC, tied with 28% ESPN cane next at 24%.

As to demographics in terms of age, then the channel choices take a divide. Starting out with those aged 18 through 34–a mix of Millenniums and Gen-Zers, Netflix is the keeper channel, coming in with 59%. Hulu came in at second place at 26%, followed by ESPN with 24%; HBO at 17%; and Amazon Prime at 17%.

For those 35 and up (Gen-X and the Baby Boomers), CBS received the best results, at 41%. This was followed by ABC and NBC, tied at 37% each. Netflix ranked in at 35%, followed by Fox with 29%.

The research presented through Hub was based upon an on-line poll received from 1,692 video content consumers in the USA with access to broadband internet service that watch at least one hour of TV per week as of January 2019.

So what does all of this mean? It means that taking views to video content by means of a traditional TV set or through an electronic device that sports a video screen is still the preferred way to entertain and amuse themselves. The choice of what to watch and when and how remains in this greatest form. And thanks to the new kid on the block, streaming, one can watch a vast collection of video titles, especially with original content. Although in the same poll, nearly 70% of the 18-34 bunch state it means a lot (22%) or a little (47%) in terms of being more interested in viewing a title, original content remains the hit of the pick!

However, Netflix, as well as its other choices, Hulu, Amazon Prime, CBS All-Access, as well as YouTube Premium, gives an opportunity for those video fans to see TV shows as well as made-for-streaming features that can’t be found no matter where and what. And by the end of this year, there will be at least two others to crowd the broadband space, Apple TV and Disney + will become ready to take the challenge.

Perhaps the biggest threat to them all is the latter title, Disney +. Disney recently announced that beginning in November, one can subscribe to that channel at $6.99 per month, or at $70.00 per year. What will one receive? As of this writing, it will consist of the entire Disney library (or close to it), the entire Pixar animation collection, everything from Lucasfilms (Star Wars, The Indiana Jones features, etc.) and everything from Marvel Studios. Marvel Studios has just about every Marvel Comics Group super hero ever created with the exception of Spider-Man as Spidy is “owned” by Sony Studios! Although Disney states that their entire library will become available, it isn’t quite known how much of that library will be offered, and if it includes the material created for TV. (The Mouse Factory, The Mickey Mouse Club c.1955, The “New” Mickey Mouse Club c.1977, Disneyland/Walt Disney Presents/Walt Disney’s Wonderful World of Color/The Wonderful World of Disney/Disney’s Wonderful World/Walt Disney, etc.) And we won’t get started on what exists from the movie and TV libraries from Twentieth Century Fox!

Apple, on the other hand, also has a few original content choices in mind, coming in from the likes of Oprah and Steve Spielberg. As to what programming as how much it’s going to cost? It’s presently in a wait-and-see mode!

So there you have it folks! Now one has more that those 57 video channels to look at, and perhaps there is still nothing on! Then again, one can always read a book…!
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NEWS AND REVIEWS

Performing for a limited run at the Hudson Backstage Theater is Laura Eason’s SEX WITH STRANGERS, a comedy about Ethan (Kitt Walker Johannson) a Millennial aged man that authors a blog that speaks about sex, and Olivia (Julia Dosik) an eccentric novelist who is more of a seasoned age. As these two meet at a writer’s retreat, they hold the desires to what the other possesses, leading toward a unique relationship both as business and pleasure.

Directed by Alice Tuan, SEX WITH STRANGERS will perform for one weekend only, May 17th through the 19th, at the Hudson Backstage Theater, 6539 Santa Monica Blvd. (two blocks west of Wilcox), Hollywood. Showtimes are Friday and Saturday, May 17th and 18th at 8:00 PM, and Sunday, May 19th, at 3:00 PM.

For ticket reservations and for more information, call (323) 960-4443, or via online at http://www.onstage411.com/sexstrange
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

Details@AccessiblyLiveOffLine.com
AccessiblyLiveOffLine@gmail.com
Details@LinearCycleProductions.com
http://www.AccessiblyLiveOffLine.com
https://www.facebook.com/accessiblylive.offline
@AccessiblyLive (Twitter)
https://www.youtube.com/channel/UCEHxSllfDItpWh3z8vuUb_w
(Accessibly Live’s channel on YouTube)
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#AccessiblyLiveOffLine

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ACCESSIBLY LIVE OFF-LINE (C) 2019 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!

-30-

SPRING BUST

Although the dates tend to change each year, many schools and related institutions take off for a week’s time. This period of vacation (if one desires to call this week a “vacation”), is usually called “Spring Break”. The reason behind this name is rather obvious. It’s a short period of time where for one week, the school or related application will pause its duties to take a break in the springtime.

The spring break season usually runs from late March through middle-late April, hovering around the time when Easter tends to fall. (Easter is one of those holidays that floats within a four week period, always falling on the first Sunday after the full moon usually between March 25th and April 24th). This year, Easter falls on April 21st, meaning that this very week could be set aside for that spring break many schools, etc. uses as their time for their students to enjoy the sights and sounds of the new and warmer season.

It’s been a tradition among young adults attending college to use this week not to bone up on studies, but to head off to traditional spring break settlements. Florida seems to be the get-go place in the USA, where many of the beach communities from Daytona Beach right down to good ol’ Ft. Lauderdale, the so-called ”birthplace” of the college based spring break getaway, take advantage in receiving these young tourists, assuming that they all behave themselves!

Over the years, other places captured the sense where spring break is the place to go. Padre Island, Texas has been a rather popular destination since it’s a lot cheaper (or was cheaper) that heading off to Florida. One may not be in a chose spot near the ocean, but one is close to Mexico where it always has an “anything goes” attitude. And many college aged people used alternative place to spend their time in the open, such as short trips abroad as many of these spring breakers are very savvy on where to go for the lowest rates possible, thanks to a vast selection of phone apps on getting the best deals around!

However, there has been a verge of sorts where people who have access to a spring break have nowhere to go! It’s not because they can’t find a location to enjoy a seven or so day period outside of their campus. It’s because they hold no desire to go anywhere!

Although this writer can’t speak for any person tied to an institution that uses a spring break holiday in this day and age, when yours truly was in a college-type setting, I never had any desire nor interested to go off for a weeks time to beachcomb during the daylight hours and pub crawl after the sun had set. In other words, I never went on a traditional “spring break”.

There were many reasons why I never spent any time to party with others of my peers. Perhaps the most obvious one was the fact that I couldn’t afford to go anywhere! Surviving on limited funds, I didn’t budget myself to take upon a package tour in heading off to Florida, south Texas, or any other location that was a designated hot spot for spring break. However, some people I once knew did take off for that week’s time.

These people were some roommates of mine living in the apartment complex that I shared in my early college days, There were the four of us–three guys and myself! The trio of guys knew of each other for some time, meaning that they had some kind of brotherly togetherness with one another. I was the misfit. It appeared that they had a fourth person they knew and roomed with. However, at the end of the first semester, he transferred to another school that was more suited for his major. (Forestry, if memory serves.) I was his substitute. Since was was the unofficial “odd man out”, I didn’t have the same bonding with the three other guys, although they did tolerate with me since I was the only one of the bunch that paid all of my share of household expenses in full and on time!

These three guys were planning on another spring break session. (It would be their third and final one as two of these guys were going to graduate, and the other was planning to move in with his girlfriend for the remainder of his school year.) Anyway, that year was for them to head off to a resort off Padre Island. For a week’s time, they were going to stay in some rinky-dink resort while heading off to the beach in the day, and to do some drinking at night. As of course, also hoping to get “lucky” with some co-eds! Although they each had girlfriends of their own, they would still take advantage of what they can find. Their thoughts on this was if they can get away with what they can do, why not? (Do I have to inform you readers that this occurred long before modern technology took its grasp?)

Anyway, I didn’t know about this spring break getaway until three weeks before the spring break period. It seems that these guys were already planning to go long beforehand. They did had room for their other that I replaced, but they didn’t bother to save a spot for me, let alone even offer this opportunity to me! It felt that it was going to be the three of them, and that was it!

At first, I was rather surprised in their decision. Then again, I wasn’t part of their tribe. I was the replacement that just lived with them all. And since these guys were going to break up at the end of the school year, this was going to be their last hurrah before they all headed out into the real world. And I wasn’t part of that social circle.

So on the Friday before the spring break week, they all took off to take a road trip with some person that had access to a van, and drive the 1000 or so miles to south Texas. I had to defend for myself. Since I had nowhere to go, I just took this time as an opportunity to have the entire joint to myself, doing whatever I darned well pleased. I could have even invited anyone I wanted. Yet alas, there wasn’t anyone I knew to invite. So much for hosting secret parties.

So how was these guys’ spring break in Padre Island? From what I can recall, they did do the typical spring break antics. They spent a day in Mexico where they got drunk. Somebody broke into the room they were staying where much of their stuff got ransacked. And yes, they did get lucky with some co-eds from Macalaster College. Outside of that, that is all they told me!

And what did I do for that week’s time? I hung around the student center taking advantage on how empty is was. I could have gone somewhere, but I didn’t have access to a car. In other words, it was an amusing time, but nothing much to write home about!

So in the mean time, enjoy your spring break, assuming you are getting one this year. Even if you have long departed from the hallowed halls of ivy, (assuming you did go to college), there’s always something to do around this time. Then again, we’re always busy with something else as that stands! (See Vol. 24. No. 14 of this here news service for complete details!)
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NEWS AND REVIEWS

No reviews this issue, but stay tuned for more of the news and details you look for in each edition of Accessibly Live Off-Line! See you then!!
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

Details@AccessiblyLiveOffLine.com
AccessiblyLiveOffLine@gmail.com
Details@LinearCycleProductions.com
http://www.AccessiblyLiveOffLine.com
https://www.facebook.com/accessiblylive.offline
@AccessiblyLive (Twitter)
https://www.youtube.com/channel/UCEHxSllfDItpWh3z8vuUb_w
(Accessibly Live’s channel on YouTube)
http://www.LinearCycleProductions.com
#AccessiblyLiveOffLine

(Look for us on Facebook, follow us on Twitter, and see us on YouTube!)

ACCESSIBLY LIVE OFF-LINE (C) 2019 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!

KEEPING BUSY

There was once a character performer named Billy De Wolfe who, among his many routines, would say in a rather hissy tone, “Can’t you see I’m always bus-y, bus-y, BUS-Y!”, with a strong emphasis on the word “busy”.

Although that line was always stated as comic relief, it seems that many of the domestic population nowadays always keep their lives into a state of busyness. When two people would meet, one would ask the other how they were doing. The other person would reply in various methods, “I’m keeping busy”. Sometimes they would add a little bit of flavor to their reply that can range from “I’m crazy busy!” to “I’m so busy, I don’t have time to take a s#it!”

There is nothing wrong by staying busy. In fact, many folks tend to say their being busy by keeping it as a badge of honor. They want to appear that they have so many things going on in their lives. These things that prevent them from staying idle range from responsibilities from their job, their family, their social life, and all points that keep these ever moving folks on their toes. And many of these same folks, especially those that don this invisible so-called badge of honor enjoy telling others on how full their lives are.

Some of these people that receive this information find this news rather amusing, while other don’t really seem to care. After all, if somebody has a whole lot of things to do at the office–where ever that office space tends to be, then why bother to inform anyone else that they have a lot of slogging to do at their jobs–whatever that slogging consists of!

It is rather understandable that in this same domestic society, people from their time of birth well into adulthood, are always active in something of another. Within the last thirty or so years, parents of kids have arranged their little one with many activities and events. Post-modern mothers (or those that act as mother figures), start off by arranging “playdates” for their kids by placing them in a setting where other kid of their same age play with one another. As they get older, there is their schooling set away from their homestead if not at their home. This blends in any pre- and post-school activities, such as playing sports or sport-type meetups, events related to the performing arts (dancing, acting, singing, etc.), social events that cater to a specific topic or subject (scouting, events at a scriptural center, etc.).

This moves toward their tweens, teens, and even young(er) adult phases as well. It continues toward their salary based jobs and careers, domestic family environments, and so on. In other words, parent figures keep their kids always busy, and the kids themselves keep on their business by arranging events on their own as they progress in life.

At the other end of the domestic life spectrum, many older folks aged 55 and up, don’t necessarily desire to keep on a traditional retirement. They want to work as long as they can get away of it. Some of these people do work as a necessity, while others do so to keep themselves within the loop of things as they enjoy what they do. And if they no longer can work in a company or operation where others exist on some kind of salary, they seek out in performing a career or related service on their own. It may not be a full time job per se, but it’s something that keeps them..well, busy!

Looking at the other side of the busy tracks, a few people have been admitting that they enjoy some time of being idle, where they can take out some time by just doing nothing! They would rather be relaxing by reading a book, watching TV, or just taking on the world through a de-stressed state as this method of living is the ideal choice for these folks. Some will use this same method of living as their badge of honor. A few, even through they enjoy this sense of non-busyness, won’t necessarily admit to anyone and everyone that they keep things in a slow state with the fear that being idle is at times linked as being lazy. Some will remain in their virtual closet for a while, only to later reemerge from stating that they have enough to do every day while keeping a sensible head to it all!

Life will continue, no matter what others are doing, or what others are not doing. Staying active all the time has its moments as well as its dangers and defaults. The same can go for being too easy. However, it’s been noted that as long as one is pleased with what they are doing or what they are not doing, then their goals are completed.

Now if you will excuse this writer, I must now wash the dishes, feed that cat, mow the lawn and stuff like that. Give us smoking, never chew, pay the bills before their due….
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NEWS AND REVIEWS

The Sierre Madre Playhouse presents for a limited run, DORIS AND ME, Scott Dreier’s musical presentation on his personal desire for one of filmdom’s biggest stars who could sing, act, and charm–almost all at the same time!

In this cabaret program, Scott tells his audience on how he became mesmerized with Doris Day, a figure who could light up the big screen with her personality that made her the classic “girl next door” type that didn’t have a personna that was anything Hollywood-esque to her, but could sing her way with appeal. Scott lets the audience know these facts through his distinctive viewpoint. He emotes on how he first discovered her through viewings of her older movies aired on local TV, how he parallels his life to hers by both starting their performing career in their teens, and how he was able to meet her in person, a feat that is rare into itself! (Doris, involved in her animal rescue efforts, tends to shun away from the public eye in her recent years, even though she is still admired by her fans worldwide!)

But Scott’s performance isn’t just limited to his gushing out his heart and soul for a show-biz type from another era to an audience. With the on-stage musical backup featuring Andy Langham as musical director performing on piano with Gary Wicks on bass, Scott has the opportunity to sing a selection of Doris’ bigger and even lessor hits from her movies and record albums. His presentation holds plenty of that same charm, grace, heart, and soul. Not a funky soul, but a soul that possesses energy, vitality, and sprit. There are at times where Scott, as joyful as he could be through his storytelling and vocal talents, even hides a tear in his eye, eager to tell his audience (and the world perhaps) on a woman he loves. His crush on Doris is more of a “squish” than anything else!

Richard Israel directs this program that keeps the same dynamism as Scott projects on the stage he shares with his intimate orchestra.

As with many of the greats known within the media, Doris Day was indeed one of a kind. And in this day and age, there will be nobody else that will even come as close as she was. That is a good thing of sorts, since Scott will have more time to devote his performance to a woman that even far away from the glitz and glimmer, is the same person in real life as she was in “reel” life. Maybe they don’t make ‘em as they used to, but DORIS AND ME still proves that charisma never goes out of style. Her human fans and her furry ones will all agree!

DORIS AND ME, presented by and performs at The Sierre Madre Playhouse, 87 West Sierre Madre Blvd., Sierre Madre, until April 14th. Performances take place on Friday, April 13th at 8:00 PM, and Sunday, April 14th at 2:30 PM. For reservations, call (626) 355-4318, or online at http://www.SierreMadrePlayhouse.org
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Performing at The Hudson Theatre’s Mainstage is LES MIZ AND FRIENDS A PUPPET PARODY, a take-off of one of literature’s greatest novels and as one of musical theater’s greatest productions, performed by a cast of humans and puppets!

Of course, there is the plot of Victor Hugo’s very long novel Les Miserables that takes place years after the French revolution of the 18th century, as well as the late 20th century’s stage musical of the same name as created by Alain Boublil and Claude-Michel Schonburg. This time around, this 1400 page (give or take) novel, as well as the three or so hour length musical has been reduced to 120 minutes (not counting the standard 15 minute intermission) as done on a lot smaller stage. Within the mix of human performers are a bevy of puppets that perform the various characters found in the novel and musical! A few of the original musical numbers are sung (with a bit of creative license added to the mix), but in general, it’s all presented as a parody, meaning it’s done for laughs! The cast of players, consisting of Nathan Makaryk, Genevive, Christopher Robert Smith, Hailey Tweter, Gabrielle Jackson, Jaycob Hunter, Carter Michael, Kelly Rogers, and Kevin Garcia, do their damnedest to not only attempt to keep the spirit of the musical version in check, but also to add to the flavor of how long and confusing the plot is while all of the puppets make it all worth its while!

Geneviève Flati and Nathan Makaryk writes and directs this program as a stage piece that is very witty and very original! When the puppets appear, they are manipulated by some of the performers donning black. (In theater etiquette, anyone wearing full black means “Don’t Look At Us Because We Are Not Supposed To Be Seen”-or something to that effect!) The puppets themselves resemble puppetry as once created by a Mr. Henson. They are colorful, funny looking (is there such a thing as a serious looking puppet?), and even “cute”! However, these puppets act rather “blue”, meaning they are prone to cuss on occasion. These elements prove that this show is NOT for the kiddies! Kids won’t understand the storyline, and even some adults don’t get it either! Chris Patstone, billed as the Assistant Prop & Puppet Maintenance person, maintained some lavish puppets that make ‘em the real stars of this show! As to the props? The barricade wall (remember the barricade wall in the musical?) consists of a rolling clothing rack with some flatten out cardboard box pieces and colored foam cylinder sticks all held together up with brown packing tape. This should give the audience an ideal on how much of a satire this show is. (Is the mention to the barricade wall a spoiler alert?)

Devin Norris arranges the transcribed music, billing this program as a musical. And yes, the puppets do sing with a little assistance to those controlling the puppets while donning black!

Written and directed by Geneviève Flati and Nathan Makaryk, LES MIZ AND FRIENDS is indeed a real hoot to experience! As advised beforehand, this ain’t no kid show. It’s for the grown-ups! And it’s never too soon (or too late) to actually read the novel. It just might even make sense!!

LES MIZ AND FRIENDS: A PUPPET PARODY, performs at The Hudson Theatre Mainstage, 6539 Santa Monica Blvd. (one block west of Wilcox), Hollywood, until May 11th. Showtimes are Friday and Saturday nights at 8:00 PM, with Saturday matinees at 3:00 PM. Ticket reservations and more information can be obtained online at https://www.lesmizandfriends.com

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ACCESSIBLY LIVE OFF-LINE (C) 2019 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!