WHAT’S ON THE TUBE

This article is once again about television, that device that one can view moving image programming projected on an electronic screen. This writer is using the slang term of this device that originated when TV sets consisted of a glass and lead cathode-ray tube that varied in screen size, usually around 21” is size. Since 2005, TV sets changed from CRT to liquid crystal display (LCD), plasma display, and organic light-emitting diode (OLED) screens. So calling a TV device as “the tube” would be the same as calling a radio as “the wireless”. But this is getting off the subject on hand.

This article will speak for the method on how people receive their moving imagery (i.e. “TV shows”) through their devices. And in this day and age, the choice of getting access is through streaming, a method of obtaining content through an internet-based connection.

Since there are many players in the streaming biz such as Hulu, Amazon Prime, CBS All-Access, and the biggest one in the TV universe, Netflix, one would believe that a TV fan would not know what to watch. A recently released marketing report states otherwise.

According to a report filed by The Nielson Company, the firm that’s been rating the TV audience for decades, it states that for the first quarter of this calendar year (January-March, 2019), the average domestic TV viewer spends just shy of twelve hours a day plugged into some kind of electronic device that sports a viewing screen. To be exact, the time spend per day comes to eleven hours, twenty-seven minutes. (11:27)

In spite of those long hours, some two thirds of those viewers knows exactly what they want to watch rather than to tune in aimlessly, a term once known as “channel surfing”. And much of that same viewing comes from user-time shifted television. And for those that are too lazy to look up the meaning of what “user time shifted television” means, good ol’ Wikipedia states that this method of viewing media content “…is the recording of programming to a storage medium to be viewed or listened to after the live broadcasting. Typically, this refers to TV programming but can also refer to radio shows via podcasts”

Those of a Millennium and Gen-Y age (18 through 34 years) spend the most time of choosing what they want to watch, roughly nine minutes, forty seconds. If those of that same age bracket can’t decide where to plop their eyeballs, they either stick to a favorite channel or source to see what’s on, or they view shorter length video content that runs anywhere from ten minutes or less from various sources. (YouTube, etc.) Those aged fifty and up i.e. the ever lovin’ Baby Boomers, spend the least amount to time of what to watch, just shy of five minutes. (4.9 minutes to be exact.) This shorter time comes from the moments that this age group had access to a printed program guide that listed in detail the amount of channels available in a geographic area, and what programs were on and on what time of day. A few of these even recall when television was limited to just a handful of channels that were obtained through over the air means. And depending on where these viewers were located, those channels numbers could be as little as three separate sources. This limitation give them little to no other source to grab content.

Although viewing programming through over the air means is still possible, folks are going through streaming. Perhaps the biggest reason of them all is the fact that it’s a whole lot cheaper to subscribing to a cable and/or satellite service where one has to fork over as much as $100.00 per month to get over a hundred channels and only to tune in as little as two channels. This is due to the fact that people’s tastes in TV content is totally different. If one is more of a sports fan, one will tune in to Fox Sports, a regional based sports channel, or even ESPN. A movie fan will tune into any source that airs features, from Turner Classic Movies to The Movie Channel. News junkies has their CNN, Fox News, MSNBC, and so on.

But when it comes to streaming, there will be other players entering the fold. Warner Media will have their own streaming service out soon, and Disney is getting their Disney+ service out where they have stated that everything in the Disney library will be available! This may mean that anything The Walt Disney Company has created in the last ninety-six years will be available for viewing. This writer will wait and see if such long forgotten movies such as Tonka, Follow Me Boys, The Gnome Mobile, and Monkey Go Home will be available for entertainment purposes. And this doesn’t count what Disney will do with the 20th Century Fox library! It’s been years (decades?) since this same writer has seen any of the movies starring Will Rogers, or the Mr. Moto series with Peter Lorre as the Japanese sleuth of the same name. (Don’t forget the Charlie Chan movies too!)

However, it’s summertime, and folks are suppose to be in the great outdoors taking up mom nature as her best! Then again, since TV can be taken anywhere where one goes providing there is WiFi access, one can catch up on quality binge watching while camping in the woods! At least one is indeed in those great outdoors!
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NEWS AND REVIEWS

The Garry Marshall Theatre in Toluca Lake adjacent closes out their 2018-19 season with the stage musical THE SPITFIRE GRILL, a melodramatic story about a young woman who arrives in a small town to rebuild herself, and the woman who gives her that opportunity, adding it all with a unique concept.

Rachel Sarah Mount is Percy. She just got released from state prison over a manslaughter rap she feels the cause was justified. With a pocketful of petty cash as prison “gate money”, the clothes on her back, along with a clipping from a travel guide consisting of a picture of an outdoor autumn scene, she arrives in the community in late winter where that fall picture was captured in; Gilead, Wisconsin, located within a lot of trees and nothing much else. She stumbles upon a local diner called “The Spitfire Grill”, run by Hanna (Sarah Saviano), a feisty and hard scrubbed woman. She gives Percy a chance to prove herself worthy as a cook and waitress. This place doesn’t get much business with the exception of the locals that live in the area. Percy makes her first friend since she was spring from the joint, Shelby (Ashley Argota), a fellow co-worker. The others that visit this spot is Effy (Linda Kerns), a mail carrier, Joe (Erich Schroeder), the sheriff and Percy’s parole officer, and Caleb (Jonathan Regier), Hanna’s nephew. Although Hanna had this diner under her wing for years, she wants to sell the place for whatever she can get. Alas, there are no takers. But Percy suggests an idea to Hanna. Why not start a contest where for an entry fee of one hundred dollars along with an essay on why the contestant desires to take over the grill, one can win the place as a prize? At first, Hanna thinks that idea is insane. But since she doesn’t hold much of a choice, she goes for the idea. Before long, letters come pouring in (along with a crisp “c” note with each entry), where the best essay received will win the entire place. But there are other issues to weed out among the group that lives in this small town. Will Percy prove herself as a model citizen? Will Hanna get enough money from the entries to make up her losses from running this place? And who is this strange visitor that Percy encounters? Is this visitor (performed by Nicu Brouillette) a real person, or is it a spirit of someone long past?

This musical, with book by James Valcq & Fred Alley, with musical score by Valcq and lyrics by Alley, and based on the 1996 “indy” film release written by Lee David Zlotoff, is a music that is more dramatic and sober in frame than a traditional musical of this ilk that would be more upbeat and charming. Although this program does hold a distinct charm, the mood shifts from being dramatic with hints of comic relief in the first act, to more moody and sullen by its second. This sense of emotion also counts for the musical numbers performed. Its sound is a blend of rural folk, country & western-esque, with suggestions of an ethnic concept that is “American” in flavor rather than taken from some world nation of origin only mentioned in long forgotten back issues of National Geographic. This form of pacing and style sets the sentiment of how the story and songs unfold, making this stage musical a show that is semi-deadpan solemn and consequential, rather than something where everyone is happy while prancing about.

As to the players. Each one appearing not only keeps their acting skills in check, their musical abilities remain as their highest appeal. Most of the cast members play an instrument during the musical numbers as conducted through Anthony Zediker. Zediker performs on piano during selected productions, shared by Lauralie Pow and James Lent, while the other instruments–fiddle, guitar, and accordion, are performed on stage by almost all of the players (rather than from the background or off-stage) during their appropriates cues. Rachel Sarah Mount provides the best of the vocal harmonies that are well suited for the score this show presents.

Among the visuals seen on stage, Tanya Orellana’s scenic design shows the wooded areas as existing by way of standing vertical wooded planks of various lengths (with images of trees affixed) that bend toward its lower half to stage front as its backdrop, with scant pieces of furnishings consisting of a table with chairs (the dining area), and a fixed positioned 1950’s-era O’keefe & Merritt stove on stage left to represent the kitchen where Percy creates the “fine cuisine” that made The Spitfire Grill stay off the Michelin guidebooks. Michele Young’s costuming has every cast member don outfits that are rural and rustic in nature, but is more of the “Goodwill” variety rather than something from the Eddie Bauer collection.

This reviewer can’t compare this musical stage version to the feature film is was extracted from. However, the creators of this stage program as viewed on The Garry Marshall Theatre floorboards and directed by Dimitri Toscas has its moments. Again, don’t expect high comedy and garish musical numbers. It’s just a musical piece that is as green with hints of brown and beige as its backwoods. And cheeseheads from Green Bay be damned!!

THE SPITFIRE GRILL, presented by and performs at The Garry Marshall Theatre, 4252 West Riverside Drive, Burbank, until August 11th. Showtimes are Wednesday through Saturday nights at 8:00 PM, and Sunday matinees at 3:00 PM. Additional performances on Saturday afternoon, July 27th at 2:00 PM, and Sunday evening, August 4th, at 7:30 PM. No performance on Wednesday, July 24th and 31st.

For ticket reservations or for more information, call (818) 955-8101, or online at http://www.GarryMarshallTheatre.org
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Will Geer’s Theatricum Botanicum continues its repertory season of classic plays with Thornton Wilder’s THE SKIN OF OUR TEETH, that tells the tale of the story of the human race through the life and times of the Antrobus family living within the wilds of the physical domain called New Jersey and all points in between.

The Antirobus clan consists of husband George (Maek Lewis) wife Maggie (Melora Marchall), their two kids Gladys (Gabrielle Beauvais) and Henry (William Holbrook). Adding to the family is Lilly Sabina (Willow Geer), the hired help who serves as the maid.

The first act takes place at the Antirobus home where the Ice Age is taking its toll. Although it’s the middle of August, both the family and the common folks outside try to stay warm, including the family pet dinosaur and mammoth! The second act brings the brood to the shores of Atlantic City where a convention or sorts is going on, as well as a beauty content. This brings the story to the third and final act where a war has just completed. The family by way of the battle lines are gathered once again, including maid Sabina acknowledging that through extreme cold, floods, beauty pageants, and the annals of war, they have all made it through the skins of their teeth.

This play, written by the same author who gave the theater world another modern classic, Our Town, developed a storyline that is far from being linear in fashion. Although it features enough social commentary and satire to brings its focus come across, there are hints and shadows to other stage plays that were around during this period. In this case, that era is c.1942, the year this production made its first stage appearance. There are doses of such programs as Hellzapoppin (for its frantic runaround zaniness), Ken Murray’s Blackouts (for the suggestions of burlesque), and even All Quiet On The Western Front (for the horrors and aftermath of The Great War a.k.a. World War I.) Although the three parallel stage shows may be now long forgotten to the post-modern (early 21st Century) audience, this production as seen at the Theatricum Botanicum progresses for its quick direction, visual metaphors, and its keen satire that makes more sense that ever before! The troupe consisting of the main ensemble as the Antirobus family keep their pacing advance in a unique clip! The role of maid Sabina is played by Willow Geer, the newer generation of performers that is part of the Geer family acting dynasty. She performs her role that is sweet in nature with touches of giddiness for personality. The rest of the troupe is just as amusing, although Willow does steal the show to itself.

In addition to the main cast, Jonathan Blandino appears as the narrator, and Ernestine Phillips appears as an Atlantic City boardwalk fortune tellers that does know all and see all using a sense of mystery and spiritualism.

Directed by Ellen Geer, THE SKIN OF OUR TEETH was far ahead of its time. It may not have been understood when it was first presented to the theater world, but it got better over the generations. It was not the first artistic piece created that suffered this kind of fate, and never proved itself to be the last! But the early 1940’s was still living with the annals of vaudeville, and that device called “television” would not come around for a few more years. But this isn’t TV! It’s another fine theater production as performed within the rustic canyons of Topanga!

THE SKIN OF OUR TEETH, presented by and performs at Will Geer’s Theatricum Botanicum, 1419 North Topanga Canyon Blvd, Topanga, until September 29th. Showtimes are Saturdays, July 20th, August 3rd, August 31st, and September 21st at 8:00 PM, Sundays, August 11th, 18th, September 8th and 29th at 8:00 PM, Sunday, July 28th at 4:00 PM, Friday, August 23rd at 8:00 PM, and Saturday, September 14th at 4:00 PM.

Other programs that are performing in repertory are William Shakespeare’s Twelfth Night (through September 28th) with A Midsummer’s Night Dream (through September 2nd); Orson Welles’ Moby Dick-Rehearsed (through September 29th); and Henrick Ibsen’s An Enemy of the People (through September 28th). D.L. Coburn’s The Gin Game will perform from August 17th through September 29th.

For ticket reservations and for more details on all shows, call (310) 455-3723, or visit online at http://www.Theatricum.com.

One can also follow the Theatricum Botanicum through social media via Facebook http://www.facebook.com/Theatricum, Twitter @Theatricum, and Instagram @Theatricum_Botanicum
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Classical Theatre Lab of West Hollywood present’s Tirso De Molina’s THE LAST DAYS OF DON JUAN, the story of Spain’s prime red hot lover, and the consequences he faces for his ruthless deeds.

Carlo Figlio is the title character. A Spaniard from a source of wealthy means, he galavants the country side with the air of seducing woman, deflowering anyone of the female species. With his trusty servant Catalina (Christine Conte) at his side, he ventures through one town to the next, narrowly escaping those that find his galavanting not too proper through the eyes of the almighty church. He does get what comes to him when after a sword fight he encounters turns fatal, Don Juan is brought to justice by spiritual law when he is taken away by the Band of the Damned for eternity.

This play was first presented during the Golden Age of Spain whose period was in the 16th and 17th centuries. (The play itself takes place in the early 1600’s.) It has much of the grace and charm that this nation, one of the most powerful counties in Europe at the time, brought into the artistic world as it was known. In this version as translated and adapted by Nick Dear in the late 20th century (1990 to be exact), much of that drama that was contained into this work rings true in english proper.

As to this production. Carlo Figlio as Don Juan is just as cunning as the namesake suggests, a man who has it with the ladies, even though that, thanks to the governing church, won’t allow a maiden to have relations until marriage! Christine Conte as Catalina serves as the sidekick to the hero (or “anti-hero”) that shows amusing comic relief.

There are others in the cast as well, including (as listed in their alphabetical order), Virtic Emil Brown, Carolyn Crotty, Cesar Di Bello, Erin Fitzgerald, Stuart W. Howard, Nico Madden, Michael Sturgis, Ian Waters, and Alexander Wells.

The play itself is presented not on a stage, but a setting set in the middle of Kings Road park, a city park operated by the city of West Hollywood. The sets are minimal (use your imagination), the costuming and setttings by Susan Deely Wells are of the period, and the “stage” direction by Suzanne Hunt makes this program an ideal moment to experience live theatre in the great outdoors. There is plenty of shading, so sunscreen isn’t necessarily. And if one wishes to bring a picnic lunch, that’s idea as well. A picnic table is nearby, and even as stated at that table, one can still view this 400+ year old play unfold!

Many folks enjoy a summer time taking part in a theatre show that is presented outdoors/ This show will fit that bill. It’s also 90 minutes in length, making this production a perfect one-act. THE LAST DAYS OF DON JUAN isn’t exactly a “Shakespear-in-the-park”, but it comes awfully close!

THE LAST DAYS OF DON JUAN, presented by Classical Theatre Lab, and performs at Kings Road Park, 1000 North Kings Road, two blocks south of Santa Monica Blvd. at Kings Road and Romaine Street, West Hollywood, until August 11th. Showtimes are Saturday and Sunday afternoons at 3:00 PM. No show on Sunday, July 21st and on Saturday, August 3rd. Reservations can be made by calling (323) 960-5691, or via
e-mail at ClassicalTheatreLab@gmail.com
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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!

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TV IS GETTING SMALLER

That’s right folks! Television, or to be precise, media as a whole, is getting much smaller in size in terms of viewing space!

Or so says a report from eMarketer, a news source that reports on how digital is transforming marketing, media and commerce. The report stated that adults based in the USA aged 18+ will spend some three hours and 43 minutes per day on a mobile device this year, and three hours 35 minutes watching TV through a traditional television device.

Media devices in this case consists of smartphones and tablets. As to the phones themselves, users will spend just shy of three hours (two hours and 55 minutes to be precise) on a smartphone, with most of the time spent using an app of some type.

Electronic tables, the latest of the portable internet connected devices is lagging behind. The report also notes that a little over an hours time (68 minutes) are used on a tablet, with the same time using a dedicated app for the tablet’s usage.

Out of the many apps one can have on a phone, or on a lesser note, a tablet, the most method of usage is to listen to music, followed by social-networking based activity.

Perhaps the other well used element is to stream video content. YouTube is the most wildly choice to view media, and a good number of what one can find via the site holds shorter running times, usually around ten minutes or less. This amount of time is ideal to take part of viewing something or another on such a small screen, around 4” to 6” in size on a phone, and around 10” on a tablet device. This amount of time reduces eye strain one can get when attempting to eyeball moving imagery on a small piece of screen landscape.

And since such gadgetry is portable, anywhere one can connected to some wifi access, one can catch up on their favorite TV program that “airs” on a streaming channel of their picking (assuming that the channel requires a subscription and they are a subscriber) or on to a free(er) service to get what they want where. And since this is vacation time, many folks will be heading off to the beach, the forestry parks and regions, or to the desert and rural areas to see the sights while taking the time viewing the ball game or their favorite series. What can be better?

But fear not gang! Big screen TV devices are not going away! Granted, nothing beats taking a gander of a video program on a screen as big as eight feet in size. Alas, it’s far from being portable. But with that handy-dandy phone nestled within their hands, one can see the same programming no matter where one is!

Just think! If one is taking the brood on a camping trip to a national park, one can connect to the park’s wifi signals, and before one knows of it, one can view the shows to their little heart’s content while taking advantage of what the park has to offer. And if one has kids in tow, that’s even better! Since these tyke were weeded on media from day one, they won’t be bored at all! They can really appreciate this wifi service made available in the park. After all, what’s the point of visiting anyplace if one can’t remain on the grid?

OK…perhaps this writer was just a bit snarky in tone with the previous statments! We know that there are folks that are aware when to say when in terms of using and not using their phone devices. And kids, or even young(er) adults, are not totally glued to their phones! Yes, they do spend more time on their phones that their parents, caretakers, or another else that may be over a selected age. But many of these smartphone owners have the ability to appreciate the world around them that isn’t part of an “A.I.” or a “V.R.” variety.

And for those that really thought we were kidding about national parks offering wifi, this is a true fact! Just visit the U.S. National Park Service website (http://www.nps.gov) and check to find out which parks offer this form of service! (Not every park offers wifi, so plan accordingly!) This way, one can make their camping experience very memorable! After all, how is one going to take pictures with their phones on hand and to upload ‘em to the social media site of choice to prove to their family, friends, and followers that they actually visited this place they are blogging and tweeting about?
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NEWS AND REVIEWS

Theatre 68 of North Hollywood continues its limited run of its 16th Annual One Act Festival. Entitled Onward We Go, the program consists of an anthology of six new short plays written, directed, produced, and performed by the members of the Theatre 68 theater group that speak about various topics about life as its known–or not!

The six that are featured consist of (listed in their order of appearance), The Ride written by Stacy Toyon and directed by Jonathan Moreno and Narmar Hanna that star Paula Jessop, Barbara Keegan, Brendan Dunleavy, Valentina Tammaro, Nick Puorro, Yasha Rayzberg, Malik Bailey, Altara Michelle, and Angelea Yee: The Janitor written by Allegra Leal and directed by Misao McGregor, feature Valentina Tammaro, Wade O Alden, Stacy Toyon, and Sofiane Madi: The Plant and the Pot written by Molly Leach, and directed by Sarah Haruko with the cast Laura Siskoff, Valentina Tammaro, Toni Perrpta, Yasha Raysberg, and Nick Puorro: Aunt Janice written by Jason Kyle, and directed by Brendan Dunleavy, star Malik Bailey and Stack Toyon: Connected written by James Medeiros and directed by Vikram Bhoyrul, featuring Sofiane Madi, Nick Puorro, and Sarah Haruko: and Bury the Cat written by Val Gehley and directed by Molly Leach, with Paula Jessop, Altara Michelle, Sarah Haruko, Toni Perrotta, and Angela Yee.

Although the theme is Onward We Go, each story, be it as comedy, drama, or a hybrid of both, speaks upon the notion of “us going”, but it’s not necessarily into a physical sense of getting from one location to the next. The plays themselves may be short in length, but are long in creativity, style, and attitude.

This method of theater are for those that prefer a selection of plays that are of “bite size” quality, running fifteen minters in length or less. It’s also ideal for those that are of a short attention span mode as each little episode as seen on Theatre 68’s “black box” stage makes it perfect to witness a cast of players that use their own technique to carry their stories out sans the wait!

Theatre 68‘s 16th Annual One Act Festival: Onward We Go performs at the Theatre 68 performance space, 5112 Lankershim Blvd. North Hollywood. Remaining performances take place on Thursday, July 11th, Friday, July 12th, and Saturday, July 13th at 8:00 PM.

For ticket reservations, visit http://www.Theatre68.com
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Son of Semele Ensemble presents Jaclyn Backhaus’ MEN ON BOATS, a saga about ten stouthearted men who take part on an excursion to discover America’s final frontier, and the effects presented to discover what mother nature provides among herself.

The year is 1869. The place is the western United States. Along the perimeter of what is now The Grand Canyon, a team of explorers lead by single armed John Wesley Powell (Melissa Coleman-Reed) are set to explore and map these parts of the uncharted region that exist or known to exist. His team, consisting of hunter O. G. Howard (Shelby Corley), Englishman Frank Goodman (Taylor Hawthrone), veteran soldier John Colton Sumner (Tiana Randall-Quant), O.G.’s younger sibling Seneca Howland (Ashley Steed), map drafter Andrew Hall (Thea Rodgers), galley cook W. R. Hawkins (Liz Lanier), Bradley (Cindy Lin), and John Powell’s elder brother known as Old Shady (Elsperh Weingarten), travel along the rough Green and Colorado rivers on four boats to see what lies ahead. The trip holds excitement and danger. There are many times where boats capsize, previsions become lost and destroyed, and death is always around the corner. But through this hell and high water, this team is set to recognize the regions that progress forward through this troupe for the sake of the nation in which they serve.

This single act play and making its Los Angeles premier through Son of Semele Ensemble, presents this program that does not feature any real boats as the set itself uses props that are composed of building materials consisting of ladders, a rolling scaffold set, a tool box, and scarps of wooden planks with a backdrop of plastic opaque sheets meant to keep the dust clouds at bay. (Carlo Maghirang designed the stage set this method!) Not only there are no sets depicting nature, there are no men in the cast either as the ensemble are all women or those that are not of the male persuasion. This gender change enhances the drama that exists within this stage program. And the performers appearing are not necessarily causation either as the diversity levels are at its peak. The cast of ten players work well with one another that shows off the so-called “he-man” stance that is required to fulfill such an excursion. Skill, wits, and strength are key elements here, and these women (and equivalent) brings these characteristics to its fullest.

Although the story takes place in the middle 19th century, the playwright creates much of its dialogue as spoken by the characters with lines and phrases that are more post-modern 21st century than 1860’s. This action may have been intentional as such an excursion with the drama that’s contained is timeless in nature. Barbara Kallir’s stage direction shows of these (wo)men that battle the elements witnessed, if not dealing with the drama staged with one another!

It’s no real spoiler alert to state that John Wesley Powell’s expedition was indeed a success. This trip eventually extended itself to another excursion held two years later. Directed by Barbara Kallir, MEN ON BOATS is a journey that holds water, and those treading water manages to keep afloat, not matter what twist and turn of the raging river may present. Thanks to these men, there would not be the travelers that seek the regions that show off the natural beauty this part of the nation holds. And thanks to social media, many a selfie exists as posted via an Instagram and/or Facebook account. But for now, the women and those of color rule here, another part of what makes America great–with no political viewpoints given or implied!

MEN ON BOATS, presented by and performed at the Son of Semele Ensemble, 3301 Beverly Blvd, Los Angeles, until July 28th. Showtimes are Friday and Saturday nights at 8:00 PM, Sunday afternoons at 5:00 PM, and Tuesday evenings at 7:00 PM.

For tickets and for more information, visit the theatre ensemble’s online presence at http://www.SonOfSemele.org
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ACCESSIBLY LIVE OFF-LINE
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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!

STATE OF THE UNION ADDRESS

It’s that time again! It’s the moment where we review on how this newsletter stands among you readers, as well as what we have “up our sleeves” in terms of the progressing we plan to create.

Normally, we start out in our report giving boring yet important facts and fixtures of how we did in the previous fiscal year. We tend to rattle off such stats as what our circulation was, how many readers “hit” our web site in a given period of time, what kind of readers we impress and so on. However, although those number are indeed criterial in what we do, those same stats are relatively dull and boring to you the readers. A few don’t even give a hoot in hell in knowing how many adults we reach and its impact to those adults. Those numbers are only for our advertisers that know how much ad space to buy. However, we fool ‘em right then and there since we don’t carry ads in the first place! And even if we did, would you really tend to care how much we advertised to place an ad somewhere? Unless you are interested in buying up ad space, that news would be all for naught.

Now that you know what we won’t report on, we will emphasis on what we will. And that news consists of what we plan to serve up within our “pages” in the next year. So pull up a chair and soak up on all the news! You ready…?

First of all, we will continue to report on the usual subjects such as film and theater reviews, as well as elements associated with the media. Also, we will occasionally open each issue on a topic that is connected to the media at large, be it from a wide prospective, or those that connect to subjects that are found through a mass scale.

However, it appears that other sources that are related to what we provide in terms of journalism are covering the same notions. This is a fact that we have been experiencing within the last few years. Social media is also expanding as well. It appears that if one desires to get the information they are looking for, those parties do tend to turn to social media. (You already know who the players are, so we won’t wast our space reminding you on who or what they are!) There are other places where folks find these facts. Not so much to discover second (or third) opinions, but to find out what is real news and what is anything but!

One type of topic we have discovered that tends to attract more readers per issue is when yours truly write about a subject that is more of a personal antidote than a hard news item that’s full of facts, figures, and boring statistics. When a topic is discussed that starts out from an experience this writer went through, more readers tend to gaze upon the story.

To give you an idea, we here at Accessibly Live Off-Line subscribe is a service conducted by a media analysis firm that can register how many “hits” one receives through a specific web site in a given period. Those hits vary each week and on each issue. This form of measurement is used to impress ad buyers proving to those same buyers that their ads will be seen per a given time cycle. Generally speaking, the more hits a website receives, the more the web site can charge for ad space!

When going through our audit for the previous yearly quarters, (January-March, April-June, July-September, and October-December), we have noticed that when the main article–the one that begins each issue per week-speaks about a personal story or topic that is based upon the day in the life of yours truly, the amount of hits spike upward. When the lead story is about a topic on, let’s say, how those engaging in media are affected by such use, there are not as many hits for that issue. In other words, when the subject is semi-autobiographical, the circulation rises. If the head topic is more of the generic variety, the circulation remains steady or even falls. This was especially true last year when this same humble writer composed a multi-part essay about what I did during my summer vacation. Those issues’ circulation increased by as much as 25% compared to over the previous quarter. It was in fact the most read article(s) we posted during the 2018 calendar season.

For those that desire to catch up in our recent back issues and to (re)read the articles itself, please referrer to Vol. 23-No. 32 through 34. Our readers love ‘em, and perhaps you will too!

So this means for the next fiscal year, Accessibly Live Off-Line will concentrate on those personal stories, and limit ourselves to the boring yet important matters. If by chance there isn’t an antidote to note, we will skip the head article and get into the reviews. Those same reviews tend to become read more than its lead story, but not as often as an issue that starts off from the secret files of this humble writer.

In the mean time, we do wish to take a bit of time to thank you all for having us be a part of your domain each and every week! We are honored to have connection of your company, and we look forward in serving you for the next few seasons to come!

-Enjoy and ride, and we will talk to you later!!
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NEWS AND REVIEWS

The Glendale Centre Theatre presents ELVIS ’68, a musical presentation on how a king regained his throne to rein within the kingdom and rock and roll while performing in front of millions of his loyal subjects!

In the latter days of the year 1968, a TV spectacular was going to air starring a hillbilly cat from Memphis named Elvis. (Casey Marshall) The idea was to feature him in a concert that would show off his real talent, something that became missing within his career for quite a while. His only public appearances were through a string of movies that were just “ok”–full of semi-forgettable songs with very thin plotlines to boot. TV director Steve Binder (Robert Downs) was on helm to showcase a man who was misunderstood by his acting, but to prove that he held genuine musical talent. So with a trio of musicians to back him up along with another trio of back-up vocalists, this one time only TV program titled “Elvis”, would wind up as his comeback–a return that was long in the making!

This stage production, written and directed by Brian Newell, was based upon an actual program that aired on NBC in December, 1968 under the title Singer Presents Elvis. (The “singer” in this case was the name of the company that bought ad time for the TV production–Singer sewing machines!) In the GCT version, the stage set resembles that actual set as seen on TV. The set itself is just a small stage platform with a mic on a mic stand and enough space for The King of Rock ‘ Roll to do his thing. Donning a black leather outfit with matching shirt and pants. Casey Marshall as Elvis performs a selection of tunes The King made famous–Jailhouse Rock, Love Me Tender, Blue Christmas, and a host of others! Robert Downs as Steve Binder steps into his character between numbers telling the audience a few behind the scene stories on how this program was created, and how it relaunched Elvis’ career that continued from that point on until his death some eight years later. Although the plot in this show is minimal, the music and talent fully fills the bill. Backed with a band that features Jack Majdecki on guitar, Mark Davidson on bass, and Tom Zygmont on percussion, along with Christa Hamilton, Kristen Hamilton, and Andrea Valazquez on back-up vocals, this stage program is a real treat to experience on GTC’s theatre-in-the-round setting.

Many of the regulars that have been involved in past GTC shows also make their mark in this stage production, from Angela Manke’s costuming and Steve Applgate’s musical direction. These talents provide a very enjoyable and informative set that demonstrates that Elvis was indeed, Elvis!

And for the record, one can actually view this TV special at The Paley Center for Media in Beverly Hills. But for those that desire their live theatre, ELVIS ’68 will fit that bill! Elvis himself may have long left the building, but his music and image does live on! Thunkyaverymuch!

ELVIS ’68, presented by and performs at The Glendale Centre Theatre, 324 North Orange Street, Glendale, until July 27th. Showtimes are Friday, and Saturday nights at 7:30 PM, Thursdays, July 11th, 18th, and 25th at 7:30 PM, with Saturday and Sunday matinees at 2:00 PM.

For more information and for ticket reservations, call (818) 244-8481, or via online at
http://www.GlendaleCentreTheatre.com
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YESTERDAY (Universal) stars Himesh Patel as Jack Malik, a humble yet struggling musician living in a small town off the coast of England that plays gigs when he can get them when not working at his real job in a big box store placing goods on the shelfs. His manager Ellie Appleton (Lily James) and part time girlfriend tries to get his gigs that actually pay something when she isn’t working her real job as a middle grade school teacher. He lives with his mum and dad, and has his best friend Rocky (Joel Fry) to fall back on. Things begin to change when while riding back to his house late one night on his bike, a strange event occurs. The entire world’s power goes out for a few seconds. At that same moment, Jack gets hit by a bus. When he comes to, everything seems to be the same. After he recovers, his friends give him a new guitar since his old one got destroyed from his accident. He tries it out by playing the song “Yesterday”. His friends never heard the song before. Thinking that their lack of knowledge of a Beatles tune was a joke, he discovers that The Beatles never existed! So he hatches an idea. What if he learned all of the Beatle song catalog and takes it as his own? He plays their songs as his own works and becomes popular, even taking on a following of fans! Soon he teams up with a high power L.A. based manager Debra Hammer (Kate McKinnon) who sees his talent and the money they could all be making. But fame has its own price as Jack realizes that, although he could get away with what he is doing, he feels that he is losing out on what perhaps could be the real love of his life.

This latest feature from director Danny Boyle, who in the past has helmed movies that features characters that become situated in places and spots due to rather direr circumstances, presents another feature that has a meek yet lovable protagonist of Jack Malik as played by Himesh Patel, and places him into a conflict where he can hardly take it all, although what he really wants is no longer available to him–in this case, it’s his first manager and almost girlfriend Ellie as portrayed by Lily James. Although this film is very British in flavor (or is it “flavour”?), this geographic location only makes this movie much better, or at least for an American audience! (Since the Beatles are from the British empire, why not this movie?) Richard Curtis’s screenplay with story by Jack Barth and Curtis is also very British where the characters use some minor British slang names and phrases within their speech. However, one would have to listen for those names and phrases to make any difference which in this case, it doesn’t matter much!

Of course, it does feature many of the tunes that The Fab Four made famous as performed by Himesh. In addition, many of the people that appear in this feature are lesser known to American audiences! (Himesh Patel is best known as a regular character in the long running English TV soap opera The EastEnders.) Having a movie that does not feature will-known names (to Americans at least), doesn’t distract much of the plotting and to the characters it presents. Although two people the movie features, musician Ed Sheeren and TV talk show host James Corden appear as themselves, the rest of the cast hold on to their merits as they would be rather set for their names in moviedom.

As expected, this movie may cater toward an older crowd who tend to stay away from super hero action features, all-ages (i.e. “family friendly”) animation titles, bloody horror flicks, or whatever Hollywood will churn out during the summer (and money making) months. For that demographic this reviewer speaks for, YESTERDAY will fit that bill. Then again, many of the younger set has discovered Beatle music over time and tide from others that “were there” when Beatlemania made its hit, or perhaps through their discovery on their own. Vinyl has made a comeback over the recent years, proving that she does love you. (Yeah, Yeah, Yeah!!)

This feature is rated “PG” for mild cussing and for accident related bloodshed. Now playing in all of the usual set of multiplexes nationwide.
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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!

VACATION WHERE..?

Around the Memorial Day weekend, a married couple personally known to this writer will set out plans on where to go on a vacation trip taking place during the summer season. This couple, already in their middle 50’s and childless, laid out ideas on where to go, when to go, and how long they are planning to get away.

This couple will called George and Gladys. (The reason for this name change isn’t necessarily done to protect this couple’s ID, but to avoid giving them influence on their vacations plans–another long story as that stands!) Anyway, this couple usually takes a number of vacations throughout the year, usually limited to a weekend get away. This time around, these plans they are making for themselves will be for a week’s time, and it will be much father away where the seven days gone will be worth its moments.

Just for the record, G&G as this writer will refer them as, lives in the Los Angeles region, meaning that their vacation will be taken as a road trip through George’s big-deal (and rather tricked out) late model Ford F-150 pick up truck that rides more as a car than it does as a traditional vehicle where its general purpose is to haul lots of stuff.

After going through their selections of places to go, things to do, and sights to see thanks to a lot of on-line based searches, they whittled down their picks to about a half-dozen or so places that limited themselves to about a 1000 mile radius of LA, meaning their choices would give them locations such as California, Nevada, Arizona, Oregon, and perhaps Washington state. Those states were chosen since they have visited each place within the previous two years.

Many of the spots they picked out were of the tourist-ty kind, such as state and national parks, as well as a few other locations yet to be discovered. (Forest communities in Oregon/Washington, desert-based spas around Palm Springs or in Arizona, beachside hamlets up and down the California coast, etc.) Whatever the case, their picks and choices were plenty for them to pare down through.

Of course, there were many apps installed on G&G’s phones where the pickings were easy(ier) to find, as well as the grabbing of the best deals they could muster up.

For G&G, this time to pick a vacation spot is more of a game as it is a chore, and this couple tends to be rather sporadic in where to go, where to stay, and when to get away and for its length of time.

As this month progresses into July, as well as the fact that Summer has “officially” started on June 21st, many folks are planning for their little getaways to some place for that little R&R. But thanks to wired technology, many people who have jobs that rely upon said technology, can’t resist to do some of their work while they are support to be on vacation. This reason to be at work while out at play can be a decision based on choice or through circumstance. Many of their superiors (i.e. “bosses”) insist their workers to complete this report, file that document, or to work out on a spreadsheet that has to be done for a certain week/day/time of day no matter what! So such work is performed through some kind of electronic device that can be connected to a WiFi connection somewhere.

Even if a person doesn’t necessarily take their work with them, having access to a WiFi connection is indeed a must! And even if these folks won’t drag their laptops or some other connected based device (tablet, etc.), one can bet that they will have their smartphones at bay to keep them connected via phone. This way, if a person and/or family is off on their little getaway, someone within the brood can be connected by somebody else for whatever reason is set upon from “real” emergencies to emergencies for the moment!

One of the biggest complaints a vacationer holds while away is the fact that their spot for their R&R doesn’t have a WifI connection available. Many of the national and state parks and related outdoor spots do offer Wifi service in their parks, either through a visitor’s center or throughout their park, either as free for for a surcharge. Ditto for cell phone reception. This means that even if one is near a lake, a hiking area, or a place where mom nature at her finest can be experienced, there is a method to be connected.

As a public service to you readers from this writer, this link below as provided by the US based National Park Service lists the parks and other facilities that provide public Wifi. https://www.nps.gov/planyourvisit/parks-with-public-wifi.htm

With the above link, one will have the confidence that while camping out in the park, one can rely upon their connected device to keep the happy(?) vacationeer ready, willing, and able to create pictures taken with their cell phones to post via social media in order to prove that they are indeed in the park in question and to rave on how wonderful it is to be there! This may lead into somebody experiencing a case of series FOMO! (See Vol. 24-No. 24 for more details.)

George and Gladys will bring along their electronic connected devices, but not for being around for work purposes. George drives a truck for a large beverage company, while Gladys is a school teacher. School is out for the summer, so there won’t be any classes being planned by Gladys. And since George drives a truck, there won’t be any of his work to take along, unless he’s making a delivery near or at their location of their vacation pickings.

Of course, there is the “staycation” where folks plan to take a vacation around their community while still living within their homes. This staycation was made popular (so to speak) during the great recession a few years ago where folks wanted to take some for of vacation while sticking to a very limited budget. Although the recession is long over, the notion of being frugal never really went out of style.

So hears to G&G as they make their picks on where to get away for a while, and to tell the folks they left behind on how great it was to leave for their brief moment. With their Facebook, Twitter, and Instagram accounts are geared up and ready to go, they will keep everyone in the loop as it all takes place to its fullest. After all, what is social media for anyway, hah?
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NEWS AND REVIEWS

The Sierre Madre Playhouse presents DAMES AT SEA, all about a Broadway musical that is nearly doomed, but goes out to sea along with a brand new star as its lead, along with the sailor that all make it happen!

The time is 1933. The place is The Big Apple. The nation is in deep depression. But The Great White Way is still in bloom. A new musical is set to open. Ruby (Katie Franqueira) arrives by bus from the wilds of Utah with a pocketbook full of air and a heart and soul full of hope and dreams. She meets Hennessey (Chuck McLane) the director of this show and tells him she can tap dance. He hires her on the spot! She meet Dick (Aaron Shaw) a gob for the U.S. Navy. He’s from the same hometown as Ruby, but desires to get his big break as a songwriter. The show’s star is Mona Kent (Jennifer Knox) a Broadway diva. But the production is doomed since the theatre building is set to be torn down for a W.P.A. project. But the show must go on! Thanks to Dick, he convinces the Navy brass to take the show out to sea on a battleship. While on the boat, Joan gets seasick and can’t perform! Ruby is set to take the lead! The show is saved, and everyone lives happily ever after!

This musical was born in the late 1960’s, around the time with old 1930‘s-era movies were first being discovered on after-hours television airings on The Late-Late Show, and around the time when contemporary movies were getting worse than ever in terms of depictions of sex, violence, and even cussing! It’s a tribute to those bright, shiny, and black & white musicals made by Warner Bros. that featured all-talking, all-singing, and all dancing! The book and lyrics by George Haimsohn and Robin Miller and musical score by Jim Wise is rather corny yet cute. This just enhances the appeal that harks back to the era was movie musical were indeed, movie musicals! The Sierre Madre Playhouse presents a full scale Busby Berkley-style show on a breadline budget, making that kind of staging even more appealing! It features a selection of tunes that recall those tunes of the 30’s as performed by musical director Sean Paxton on piano. Jeffrey Scott Parsons’ choreography provides how much of the cast, especially Katie Franqueira’s tap dancing, makes this show a real treat to experience. And Joshua Finkel’s stage direction gives all of that dancing and romancing placing it into new heights

Also appearing is Ruben Bravo as Lucky, another sailor man, and Marissa Mayer as chorus girl Joan. They too can sing and dance as anyone can, or at least in a musical spectacular.

And what’s a musical musical without the lavish sets? Jeff G. Rack provides those sets consisting of the theater and the battleship where the show sets sail into glory!

It’s been said that for every burned out bulb found on a theater marque, it means that another Broadway hopeful gets their heart broken. DAMES AT SEA may not have many burnt bulbs because it shines through! And did we say it has a happy ending? After all, it’s a musical, not a gangster feature! In the latter, those mugs wind up either shot dead on sent up the river to Sing-Sing! But that’s for another musical, and for another review!

DAMES AT SEA, presented by and performs at the Sierre Madre Playhouse, 87 West Sierre Madre Blvd, Sierre Madre, until August 3rd. Showtimes are Friday and Saturday nights at 8;00 PM, and Sunday afternoons at 2:30 PM. Special performance on Saturday afternoon, August 3rd at 2:30 PM.

For ticket reservations or for more information, call (626) 355-4318, or via online at
http://www.SierreMadrePlayhouse.org
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TOY STORY 4 (Disney/Pixar) continues the saga of the toys once possessed by former child Andy, and now under the ownership by current child and soon to be kindergardener Bonnie.

As Bonnie (voiced by Madeleine McGraw) enters kindergarden, she makes as a simple art project, a stick figure made of pipe cleaners, felt, a pair of doll eyes, and a plastic spoon/fork (“spork”) and calls this stick figure Forky. (Tony Hale) Forky isn’t a toy per se, but is just as beloved by Bonnie. The toys, lead by cowboy Woody (Tom Hanks) tried to welcome Forky to the bunch, yet Forky is very shy and would rather keep itself in the trash where it came from. The bonding of Forky and the rest of the toys move forward as Bonne’s family take a short road trip in a rented RV with many of the toys in tow. As they stay in a campground in a small wooded town where a local carnival is operating, Forky becomes lost. Woody seeks the lost spork, only to encounter an antique shop where he spies a lamp in the window that looks familiar. It’s the lamp that at one time featured the ceramic figurine Bo Peep (Annie Potts) on its base. Bo was once the apple of Woody’s eye. This chance encounter, along with Woody becoming lost from the other toys, beings a search for the cowboy lead by Buzz Lightlyear (Tim Allen), and well as becoming mixed with other toys from the antique shop that holds sinister purposes. This also includes Ducky (Keegan-Michael Key) and Bunny (Jordan Peele), a pair of stuffed toys with cocky attitudes that are carnival game prizes, and become part of the other toys looking out for one another if not for themselves.

This fourth entry to Pixar’s flagship franchise that started the feature length computer generated imagery animation filed, is once again charming as all of the rest. This film holds many emotions from the cute and cuddly to the borderline illusion of horror–or at least a family friendly version of a sense of horror! The storyline by John Lasseter, Andrew Stanton, Josh Cooley, Valerie Lapointe, along with Rashida Jones & Will McCormack, Martin Hynes, and Stephany Folsom, with screenplay by Andrew Stanton and Stephany Folsom, brings on a vast blend of concepts that are geared to please fans of this long running franchise, as well as those that are new(er) into this entry. Mostly in the rein of kids that grew up with the Toy Story series thanks to home video and related video content services.

Outside of the regular collection of toys (Woody, Buzz, et. al.) are some newer characters that make up the roster. The sinister toys found in the antique shop consists of 1960‘s-era doll Gabby Gabby (Christina Hendricks) a taking pull ring doll with a worn voice box who desires to get Woody’s functioning voice box (a pull ring toy into itself), Giggle McDimples (Ally Maki), a mini doll figurine from the 1980’s, Duke Caboom (Keanu Reeves) a 1970‘s-era stunt motorbike trick rider from Canada who still grieves from the boy that abandon him because it can’t perform the stunts as shown on TV, and a group of silent henchmen types known as The Dummies (Steve Purcell), a group of identical looking ventriloquist doll dummies that can’t speak since somebody else would normally do the talking for them!

Josh Cooley directed this animated fare that is pleasant for all ages from those for noted kids to the adults that either grew up with the Toy Story series, or for those that are fans of animation that is less snarky and many of the other animated features of late tend to resource its humor through.

Pixar, the animation arm of The Walt Disney Company that is one of many sources that brought this ninety-plus year old studio up to date, provides another feature that will carry on long after its theatrical run has finished. That is why it never relies upon dated or topical elements to keep it afloat. And for what it’s worth, it even carries a few themes into its story, most notably to listen to one’s little voice inside! Woody’s pull ring provides his voice, and Buzz has a series of buttons affixed to this frontside that speak for it as well. One of those voices is the catchphrase “To Infinity and Beyond”–where this film will defiantly go!

This feature is rated “G” for all ages. Now playing in both standard screen size and in selected IMAX theaters nationwide.
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The next issue (Vol. 24-No. 26) will feature ALOL’s annual “State Of The Union” address! Don’t miss it!
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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
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@AccessiblyLive (Twitter)
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(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!

FOMO-A-GO-GO

For those that aren’t living in a tech-savvy universe, one of the many terms that was created thanks to antics done through the ‘net that’s been kicking around in recent years is the moniker “FOMO”. That just means “fear of missing out”, created through the usage of social media portals where one would post a picture, image, along with some description of an event, activity, or some other doing where the poster would tend to brag about stating that this person was at some sort of happening that was worthy enough for a mention to their social media fans and/or followers.

Many times, a person will, let’s say, be attending a party taking place somewhere. The person will be posting the details to this party to their social media “friends”. If one person is part of that “friendship” one can find out about this party. If the friend doesn’t bother to check in with the person posting the details, this person will miss out of the event! Why? Because they didn’t bother to follow the poster’s details on the party details.

So in order to keep up with everything, the friend and/or follower must make sure that the details are checked in on a regular basis. And the reason for this constant checking? To avoid missing out on everything! That may being some kind of anxiety in the person constantly checking to see if there is any updates in order to avoid missing out on anything. Thus, the checker build up some kind of fear that they will be missing out. Thus, they possess the fear of missing out, or FOMO for short! Get the picture?

Since the days of the on-line chatrooms of the 1990’s, folks created terms and sentences that were at times too long to type in full. So shorthand versions of these words and phrases were created to express a notion in more of an ease to the typer.

If one recalls the methods of chatrooms from way back when, one would type a sentence. Then another person would give a response to that first sentence. Sometimes somebody else would enter the “room” to type something that was outside of the scope of the first sentence. Then others would enter the room, giving off their entries that didn’t necessarily have anything to to with what was being expressed. Before long, one would have a string of sentences that read much as a staggered conversation where at times, the flow of expressions were out of sync and didn’t necessarily make any sense!

So in record to combat this rapid fire of typing communication, one would type in a short statement that meant a word of phrase. For example, if a kid (usually these chat rooms attracted those as young as ten years old), and their parents were nearby where they could glance at the video monitor to read what was being stated, they would warn the others that their parents were in the room, or “PIR” for short.

Many of these chat room initials were adapted with conversations through text messaging, giving the typer less letter to type. Before long, these set of letters became words into themselves. Perhaps the most famous one was to describe one laughing out loud through a comment over something the typee found humorous. This “LOL” became a new word. If somebody wanted to comment about a statement that was in their humble opinion, they would not start off with “In my humble opinion..”, they would type IMHO, another new word. If one wanted to so something themselves, they would type DIY. (“Do it yourself”). And the list of worlds from initials goes onward.

But getting back to the FOMO ordeal. With communication as it stands, one can always keep in contact with anybody as things occur. No need to wait weeks until updates are obtained. One can get the details when things are occurring at that very second. “Breaking news” isn’t just for the media’s use anymore. It’s for anyone that has an internet connected device!

Of course, we don’t worry about being left out on anything as we here at Accessibly Live Off-Line receives the details on something or another long before the fact. And if we do miss out on anything, it’s because whatever we missed out on wasn’t worth the fear factors connected toward the event that was missed.

We do have to give this notion a heady LOL! We don’t set an ordeal to have our PIR. However, if one is with your SO, just keep the PDA to a minimum–IMHO!!
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NEWS AND REVIEWS

LOVE, MADNESS, AND SOMEWHERE IN BETWEEN, James J Cox’s single person performance about a personal tale about one man’s journey through a darker life and times, performs as part of the Hollywood Fringe Festival, taking place at The Hudson Guild Theatre.

In his performance, James tells about the story of “Jimmy”, a kid from a bedroom community in Long Island, New York who experienced a traumatic childhood of his father dealing with alcohol that later morphed into Jimmy’s own adulthood, a case of physical abuse from a member of the clergy at his community church, a stint in the Naval forces, and his later redemption of being an “angel warrior” in a pediatric cancer ward at a children’s hospital. He tells his story in a non-linear fashion, jumping from one episode to another through a stagnant fashion that ties into a sense of desire, fear, emotional pain, and finally reaching the act of forgiveness from what occurred all those many years beforehand. It’s all within a round robin flight of mini epic portions speaking upon the settlements Jimmy faced through his standings of life.

This solo show by James J. Cox is one that emotes a narrative that blends a sense of stability, only to spin out of proportion, finally catching up to itself and to rest upon a sense of steady control. To place this performance in basic terms, James’ show is well titled. It is a place of love, madness, and surrendering into middle ground. Only using a few props as a guide through this virtual pilgrimage with no sets to speak of, it’s James all the way with his own self and the strange tale he weaves.

Trace Oakley directs this show that only runs for an hour’s time, while Zahra Husein serves as the assistant stage manager whose purpose is to hand James a few props and well as to give some stage cues for him to move into the next phase of these tales.

This production performs as a limited program, and is billed as a powerful one-man show. This line speak as the truth and James aka Jimmy, holds upon the title states of being. It’s a trip that’s well taken for the (im)proper reasons.

LOVE, MADNESS, AND SOMEWHERE IN BETWEEN, performs as part of the Hollywood Fringe Festival at The Hudson Guild Theatre, 6539 Santa Monica Blvd, Hollywood. Remaining showtimes are Friday, June 21st and Saturday, June 22nd at 8:30 PM, and Sunday, June 23rd at 4:30 PM. Tickets are available online at
http://hff19.org/5920, or http://www.OnStage411.com/LoveMadness (Promo code 008)
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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!

EXPERTS AGREE: EVERYTHING IS FINE!

The above quote was once spotted on a bumper sticker affixed on the rear end of a car seen on a street now long forgotten. It told the reader (or the driver of the car trailing the said vehicle) that it had to take a league of experts in some form of field to acknowledge that everything going on is “OK”, no matter what those may say otherwise!

It appears within the last few years, stress and anxiety has been on the rise lately. People seem to become nervous for some reason or another through various elements that are around them, either within a “public” scale, or through personal reasons.

And recent statistics tend to provide these facts into its new light. Deloitte, a research and marketing firm based in New York, released its report on the personal feelings upon Millennials and Gen Zs’ take on optimism in terms with economic, social and political aspects as witnessed within this nation and those based from abroad.

Before we begin to quote the stats, the group the report speaks for are those born between 1981 through the early-middle 2000s. These two groups tend to be the focus with advertisers, marketers, and others that desire to push product and/or services to these “young adults” or those that are on the brink of adulthood. These are the folks that are part of the so-called “wired” generation, meaning that they do not remember life before the internet, cell phones, or related electronically based communication that make up a good chunk of their lifestyles on almost everything they do, see, hear, or to express themselves!

According to the Deloitte report with the specific title The Deloitte Global Millennial Survey 2019, it states that economic, social, and political optimism stands at a record low point. They are concerned that their lives through these means based upon current circumstances are not functioning through upon what they have expected those results to be.

Although the economy tends to be in a boom period at the moment, those boom times are not reaching those young(er) workers. They are also concerned with their local governments taking note toward local and domestic situations. (According to the report, some 26% of those stated that economics within their homelands will be better in the year ahead. This number appears to be the lowest response to this question for the years that this survey was conducted!)

And one (or a number) of elements to blame on the stress factor is social media. This portal stands as the be-all-to-end-all for this selected group. The report continues to note that over half (60%) of millennials and 59% of Z-ers saying they’d be happier if they spent less time on social media, believing that if they would take a step away from their Twitter, Instagram, Facebook, etc., would give them more peace and personal happiness. (64% and 63%, respectively, believe in this aspect.)

Instead of this writer quoting all the facts and figures, why don’t you folks read all of the news yourself through this link https://www2.deloitte.com/global/en/pages/about-deloitte/articles/millennialsurvey.html

Although the above noted reports tends to focus itself upon the younger set, it also affects the other demographics. Mainly, the Gen Xers (born between 1965 through 1979), and those ever lovin’ Baby Boomers (born 1946-64) that have been around at the birth of the ‘net, and can actually recall a life before the ‘net became what it is now!

Granted, stress and anxiety has been around domestic life for as long as domestic life existed. One hears about it more nowadays because these subjects are not as taboo as they once were conceived. Yes, folks living in the communities found within this local landscape has had their stresses going on for some time. It was just treated in different ways, as well as what was stressing themselves out. Kids were always going through peer pressures at home, at school, or where kids tend to be placed. As they got older to complete their schooling, stopping at either a college level, or in many cases, ending at high school, they indeed do take on a worry if what they knew in terms of being “book smart” was going to deliver them where they wanted to go career wise. When they got married (and well into the 1980’s, young folks in their twenties did get married and did start families), there was the parent figure that worked outside of the home, and the parent figure that did all of the household related activities, usually as a husband working, wife being a mother/housewife/domestic engineer, and so on and so forth.

But within the last fifteen or so years (give or take), it seems that personal stress and overall depression became more openly noted. The so-called taboos were out in the limelight. When more people reported upon their stress levels, it became more of an accepted trait. To give one an idea toward this factor, if person “A” was suffering a case of sadness due to a various amount of reasons, person “B” going through the same elements would realize that they were not alone. Before one would know it, person “C”: would give out a “me too”. Then person “D” would admit they are within the same status, and the list would continue onward.

Social media, the curse of this now generation of stress, has also become a blessing. Many online groups exist where the topic could be an example of an anxiety. These groups, virtual as an on-line source, or based upon real live people that physically meet in person face-to-face, are used to exchange ideas, analyze problems, or even give moral support. Thus, these portals exist so anyone going through an episode of stress for, let’s say, an adult aged person taking care of an elderly parent or related loved one, will know that other people are also taking care of an aged parent, relative, personal friend, or somebody who is part of this person’s personal domain. They exist to state that they are not alone in the wilderness.

Yes, stress and anxiety will continue to exist. On the other hand, so will the sense of peace, hope, and love. A current method to spruce up a living space is to hang a sign on one’s home wall that sports a brief quote emphasizing that the home in question is one that features the traits of peace, joy, desire, and other emotions that are far away from the world of stress and fear. These signs were most likely inspired by various posts on Instagram and may have a picture of for example, a mountain stream with a quote that says that this picture promotes peace. Or maybe featuring a picture of a cute looking domestic animal (dog, cat, bird, etc.) along with an inspiring quote that is either relaxing, joyous, or downright funny. (Funny to the beholder anyway!) And these digital posts are now made available as a framed picture ready to hand up on any wall as a reminder that there will always have that peace and joy associated to the place where the picture if found. These pictures and related accessories can be found at any retail space (in-store and/or on-line) that caters to the “feather-your-nest” crowd!

Keep in mind that the world isn’t necessarily going to hell in a hand basket. If that was the case, that hand basket would have arrived in hell generations ago. And if it’s going there now, one can bet that there won’t be a shipping charged attached to that journey. That’s just part of the way life is interesting–so to speak!
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NEWS AND REVIEWS

As part of the annual Hollywood Fringe Festival, The Hobgoblin Playhouse at the Arena Stage presents THE 2nd ANNUAL TRUMP FAMILY SPECIAL, an original musical comic show featuring an all-star review with the “First Family” of the good ol’ USA.

Presented as a TV special, the show consists of Melania (Mary Birdsong), Eric (Ryan Murray), Donald, Jr. (John Shartzer) and Lisa St. Lou as Ivanna, as they star in a musical review, singing and performing about how America is great again. Of course, the head of the clan isn’t present for this showcase, but does make his appearing while tweeting how this program is very good for the country, and for his assets!

This political satire with book and lyrics by Daniel Salles with music and additional lyrics by Tory Hymans & Lisa St. Lou is very witty and is just as cocky in attitude as the real Donald (or make that “The Donald”) could muster up! With a seventy minute running time, the cast of four (also playing additional roles) give this piece its real trump card. (Pun indented!) With a roster of fourteen song numbers performed by the cast with choreography by Benji Schwimmer and stage direction by Daniel Salles, this show deserves a 3rd annual treatment! Next season is an election year, and with a dozen or so candidates on the Dem side, it’s gonna be a challenge. But as The Donald would say (or Tweet), it’s going to be the best show of the entire Fringe Fest this side of the USSR!
That’s no fake news!

THE 2nd ANNUAL TRUMP FAMILY SPECIAL, presented by Semi-Cool Productions, Inc., and presented as part of the Hollywood Fringe Festival at the Hobgoblin Playhouse at the Arena Stage, 1625 North Las Palmas Avenue, Hollywood. Showtimes are Thursday, June 13th at 8:30 PM, Friday, June 14th at 7:00 PM, Saturday, June 15th at 10:30 PM, Sunday, June 16th at 3:00 and 10:00 PM.

For tickets, visit http://www.TrumpFamilySpecial.com

Follow the tweets @TrumpFamilySpecial
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MOBY DICK REHEARSED, Orson Welles’ stage adaptation of Herman Melville’s high seas saga of the hunt of the great white whale called Moby Dick, performs in repertory at Will Geer’s Theatricum Botanicum in Topanga.

The play opens not in the 1850’s off the coast of Nantucket, but in a theater setting of now where a group of actors brushing up on a few “sides” of King Lear takes upon themselves to blend into a dress rehearsal telling the legend of Moby Dick. This dress rehearsal turns into a full fledged stage drama of a troupe of sea going men under the leadership of Captain Ahab (Gerald Rivers) who seeks a personal revenge of a great white sperm whale where on a previous voyage, it bit off part of his leg. Now armed with a gallant team who set sail upon his ship The Pequod, Ahab and his valiant crew are off to capture this bright beast of the seas, and will do so come hell or high water!

At first, one will witness what appears to be a play within a play, where a group of thespians form to conduct a presentation of Moby Dick where it becomes reshearsed to its fullest. This team isn’t presenting an improv version of the whale hunt, but as a stage show that becomes the real deal! That is the general backdrop to the story. By the moment this crew become serious into this mission, it’s Moby Dick all the way, rather than as a feeble attempt cast by a group of actors just playing their roles on command from its director. Franc Ross performs as the director and as the character Mapple where he holds a resemblance of the playwright. He doesn’t look like Herman Melville, but resembles the Orson Welles version that is far removed from the days when he was once billed as a “boy genius”! (i.e. The era when Citizen Kane became a staple of The Late Late Show appearing on after-hours TV, as well as a few revival screenings usually held on a college campus somewhere.)

But getting back to the stage version as performed on the Theatricum Botanicum floorboards. It features a very robust cast that consists of Tavis L. Baker as Stubb, Tim Halligan as both a Carpenter and Pegleg, KiDane Kelati as Pip, Jacob Louis as Elija, Melora Marshall as a Landlady and as Flask, Michael McFall as Queequeg, Dante Ryan as Tashtego, Colin Simon as Starbuck, Isaac Wilkins as Daggoo, Julia Lisa as an unnamed actress, and Dane Oliver as the man who insists you call him Ishmael.

Ensemble players also consist of (as listed in their alphabetical order), Louis Baker, Matthew Domenico, Colin Guthrie, Matt Mallory, Cavin Mohrhardt, and Matthew Pardue.

Ellen Geer once again takes on the director’s seat to present a play that is big in scope, complete with intense drama, full fledged action (thanks to Dane Oliver’s fight choreography), as well as offering a selection of sea chanties as its musical soundtrack performed for salt-air moodiness. Marshall McDaniel provides an original music score for these ditties showing itself off as the only way to feel the said saltiness of the ocean deep without using water for effeteness.

For those that never bothered to actually read this classic novel, MOBY DICK REHEARSED will fit the bill. Would it be a spoiler alert to note that Cap’n Ahab finally settles his score with the title whale? And would it be another spoiler that the same title whale is never seen on stage? After all, Mr. Welles got his fame through radio, so let the theater of the mind do its thing to “see” Moby D! Thar she blows indeed!

MOBY DICK REHEARSED, presented by and performs at Will Geer’s Theatricum Botanicum, 1419 North Topanga Canyon Blvd, Topanga, until September 29th. Showdates run on Saturdays, June 15th, August 17th, September 7th, and September 15th at 8:00 PM; June 22nd, June 29th, and July 20th at 4:00 PM, and on Sundays, July 14th, August 4th, August 25th, September 22nd and September 29th at 4:00 PM, and September 15th at 8:00 PM. Special Friday night performance takes place on August 9th at 8:00 PM

For ticket reservations and for more details, call (310) 455-3723, or via online at http://www.Theatricum.com

One can also follow the Theatricum Botanicum through social media via Facebook http://www.facebook.com/Theatricum, Twitter @Theatricum, and Instagram @Theatricum_Botanicum
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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!

THE NOT-SO-FRIENDLY GHOST

In the wired based world, many new words and phrases have been passed into the domestic lexicon that didn’t exist as recently as twenty years ago. One of the many words created since the post-wired age is ”ghosting”. This term means, or as described according to the Merriam-Webster dictionary as ..the act or practice of abruptly cutting off all contact with someone (such as a former romantic partner) by no longer accepting or responding to phone calls, instant messages, etc.

This writer recently experienced an episode between a person personality known by yours truly (not as a romantic partner), and the situations connected to being ghosted. And remember, everything described in this article is true. Only the names were changed to protect this writer from possible lawsuits!

A person known to myself and my spouse is a woman we will call “Gloria”. Gloria is a person that has an association through my spouse and I (hereon known as “us”) through our portals. My spouse even knew Gloria for a number of years way before I came into the picture. Although we lost track of her presence for a bit, she returned into our fold. Presently, we are establishing a casual friendship with her through dinner parties, some activities myself and/or my spouse are involved in, or through other matters that are related to both. Generally speaking, Gloria is a pleasant person to associate with.

Not too long ago, we planned to perhaps host a casual dinner party or maybe a lunch event at our humble home. We hosted two previous events where Gloria was one of the people attending. This time around, it would be just Gloria and us. One can even call this gathering a “threesome”, although that term sometimes is connected to having an orgy consisting of, well, three people! But this isn’t an orgy by any means. It’s just a pleasant time to meet over the usual antics with good food, good beverages, and good company.

Our communication if not done in person, has been through the method of sending text messages. This form of communication became rather popular when the flip phones of the era had this function available to its users. Naturally, the youth that had access to sending text messages used this new form of communication to send quick notes to its receiver by typing in so-called single words as “Whusupp?”, or as typing messages that resembled those abbreviated messages once written on telegrams in order to save money paying per the word. (“R U going 2 eat lunch, or did U 8?”)

When smartphones replaced the flip variety, texting continued. This time, adding those picture words that originated in Japan using the original Japanese term emoji (The folks at Merriam-Webster describe this term as ..any of various small images, symbols, or icons used in text fields in electronic communication as in text messages, e-mail, and social media) to express the emotional attitude of the writer, convey information succinctly, communicate a message playfully without using words, etc.)

Of course, the “picture word” became popular with the youth. However, those pic words were also adapted by the “adults” that wanted to express their meanings without words, but through pictures! (i.e. a smiling face, a crying face, a smiling face with a “thumbs-up”:, a smiling pile of “poop”, etc.)

Nowadays, sending text messages became the norm between people (kids and adults) since there are at times when people can’t take a voice call, but can take a short message to later respond when it’s more practical to do so. (This party has even made business transaction between others through exclusive texting. This is very usable when such details as addresses and phone numbers are involved within the messages, as well as getting specific details over something or another. Again, we don’t chat per se, but we were able to complete what we wanted to do with a written record now available to prove it all exists!)

Anyway, let’s get back to our story! So we sent a text message to Gloria suggesting a few things to do over that Memorial Day weekend. The weekend in question was some two or so weeks off, meaning that this wasn’t necessarily a last minute set of plans. We just gave Gloria the basic details and asked what was best for her.

So on an early Wednesday evening, this message of suggestions was typed out by this writer using the classic method of the “hunt and peck” style of composing words on a keyboard platform. After all of the words were checked as correctly spelled and if the sentences were composed using proper grammar (no abbreviations used consisting of single letters and numbers), I hit the “send button”. Now all there was to do was to await for her reply. Perhaps not necessarily at that moment, but within a reasonable amount of time in order to start the next step in plans.

To make a very long mini-episode short, Gloria did not reply for the next few days. No messages were received or acknowledged from her. A total period of silence.

There could be a lot of reasons why Gloria never replied. Perhaps she had other issues to deal with at the time that prevented her from responding. Maybe she did receive the message only to accidentally erase it. (Unintentionally of course!) Perhaps she did receive the message and perhaps it slipped her mind in replying. Or other reasons where it prevented her in sending a simple response.

So on the following Sunday morning, yours truly sent her a courtesy message asking if she indeed received the message and to ask upon her suggestions. Sunday is usually the time were folks are taking it easy far removed from their weekday schedules as well as their Saturday based chores. Perhaps Gloria would take advantage in her leasure time and reply on that Sunday so we can go on to the next step of arranging things.

Monday morning came, and no word from Gloria. Tuesday arrived and the same. Ditto for Wednesday. No reply. No news. No nothing!

So on that Thursday, a little over a week after the first message and a few days after the second, yours truly sent Gloria a third message stating that we have not heard from her in a while, and suggesting that we are still open in hosting a humble get-together during that three day holiday weekend. It was now up to her to reply to our notions in what we felt was a friendly and open greeting for a simple meeting.

As one can guess, Gloria’s message was AWOL. For whatever reason, she never replied. She never even sent a message with a simple “Thanks but no thanks”! It was dead ‘silence’ from Gloria.

Because of the fact that Gloria may be going through some issues and/or concerns that may not necessarily be of our business, we just let her slide over this lack of response. Our Memorial Day weekend plans were never established. We never got together for anything. We didn’t want to nag Gloria as that would be considered as a bit rude. (After all, we are adults!) It was just her way to say that she just wasn’t interested in meeting with us. So her method of reply was taken with a few words or actually, with no words!

Yeah, we were a bit hurt emotionally when we could not gather with Gloria. However, she wasn’t the only person within our personal bunch that replies through never replying. We (and I) have a lot of people we know as “friends” that occasionally associate with, but for some reason or another that we can’t conceive, will never reply to any of our communication attempts, be it a voice mail message, a text message, or a message sent through e-mail! Even if what one desires from the other is an element that is for their benefit or gain, they still won’t reply! And this gang of friends isn’t just limited to friends through association. These from of “ghosters” even occurs with family members! My spouse has a few folks that are either siblings or as nephews and nieces (along with their spouses when applicable) that for some reason or another, won’t reply no matter what! Granted, these nephews/nieces et. al. are of the millennium age, but that is not an excuse of never getting back with you, even if your intentions are of the good!

Even with what occurred, we won’t totally write Gloria off. We will keep in contact with her to meet with ideas that is already up our sleeves. Perhaps we will bump heads with Gloria again, or we won’t! It’s just part of the methods that people who dwell and exist in this domestic society behave. We just can’t make people do what we want them to do, even if that doing is for the good for all involved.

To use the phrase to describe this episode, that’s life! That’s show biz!
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NEWS AND REVIEWS

Theatre Palisades presents Ken Ludwig’s time tested classic LEND ME A TENOR, a comical farce of a struggling opera company that hires a famous tenor to star in the company’s fundraiser, only to have their plans spin into a near sour note!

The Cleveland Grand Opera Company as part of their annual fundraising campaign, sets off to present a performance of Verdi’s “Othello” with Italian opera master Tito Merelli (Peter Miller) as its lead. The company’s director Henry Saunders (Greg Abbott) along with his assistant Max (Jeff DeWitt), are making sure that anything goes right on schedule, keeping their star settled in his hotel suite. But things begin to unravel when Tito appears to be arriving rather late, if not being missing! The tenor is currently having a spat with his wife Maria (Maria O’Connor) since Tito, being the great opera singer that he is, constantly flirts with many of his “groupies” that attempt to call to his attention! Meanwhile, Henry’s daughter Maggie (Holly Sidell) who is Max’s sweetheart, also flirts with the grand tenor that doesn’t bond too well with Maria. Adding to more complicated issues is the opera company’s chairwoman Julia (Martha Hunter) who is not only trying to keep Henry in line, but also wishes to seduce Tito! The same attention grabbing applies from budding opera singer Diana (Stephanie B. Stern), and even the hotel’s bellhop (Randy Oppenheimer) who makes every effort to provide an on-the-spot audition to the grand master with his vocal knacks. Will the Cleveland Opera Company pull off their fundraising show to a success? Will Tito’s “followers” get the attention they they are looking for? And is the grand master of the opera stage really dead? (The show still must go on!) If it’s not one episode, then it’s another as this laughable parody shows itself off from one comical installment into the next!

This is one of those plays that’s been making the many theater rounds for some time. But it just gets better with each performance! The cast of eight appearing prevail in terms of presenting comedy and satire with each and every move they partake in. The players not only provide the verbal laughs that this show contains, but also gives the cast an ideal and frantic physical workout under the direction of Sherman Wayne. In addition, there are the standard traits found in such stage farces, from the ever present running in and out of doorways (four doorways at least), the mistaken situations that are present, as well as a few characters that appear scantly clad.

Adding to his directional duties, Sherman Wayne also designs the stage set that consists of a rather fancy two-room hotel suite. (For Cleveland anyway!) Wayne is also in charge of the lighting design. June Lissandrello provides the costuming that ranges from tuxes, gowns, as well as a pair of Pagliacci clown outfits!

LEND ME A TENOR is just as fun to view for the first time, or as a first time in a while! No matter, though! It’s still a comical laff fest. And what better way to experience this production is on the intimate stage of Theatre Palisades!

LEND ME A TENOR, presented by Theater Palisades, performs at the Pierson Playhouse, 941 Temescal Canyon Road (off Sunset Blvd.), Pacific Palisades, until July 7th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday matinees at 2:00 PM.

For more information and for ticket reservations, call (310) 454-1970, or via online at http://www.TheatrePalisades.com

Theatre Palisades can also be found and followed through social media via Facebook and Twitter as “Theatre Palisades”.
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Will Geer’s Theatricum Botanicum opens their 2019 repertory season with William Shakespeare’s TWELFTH NIGHT, a tale of romance, mistaken identities, with blends of comedy, drama, and action with a bit of stage musical added.

The story occurs in the kingdom of Illyria where a shipwreck has just taken place. Twin siblings Sebastian (Cavin Mohrhardt) and Viola (Willow Geer) become separated, yet neither knows that the other survived the shipwreck. Viola, who disguises herself as a man calling her new identity as Cesario, becomes passionate with Count Duke Orsino (Max Lawrence), who in turn is in love with the wealthy Countess Olivia. (Christine Breihan) Upon encountering Viola, Countess Olivia falls in love with her believing that she is a man. This leads toward other notions from the follies of an eccentric uncle, a servant that is a foolish jester, and a love triangle between the likes of Viola, Duke Orsino, Olivia, and Cesario.

This grasp on The Bard’s play, first written around 1601 and made its world premier in early 1602, takes place some two hundred years later (c. early 19th century), where the costuming by Amy Mazzaferro reflects the fashion of the era using hints of english and french styling. Many of the characters hold Italian roots (their origins) where at times, performs their staging as a cross of a classic Italian opera where a lot of characters are standing around someone who is in song, and a Broadway musical where a tune is performed out in the open upon the context of a plot point. Marshall McDaniel’s transcribed sound design and musical score serves as both interlude (background) music, and as a score to the song “lyrics” as written by the playwright, as moody in frame. This gives this stage production a balance between the comedy and drama that exists throughout.

As to the rest of the cast, the players appearing in this production also features Steven Gordon (alternating with Harrison Poe), as Curio, Christopher W. Jones as Sir Toby Belch, Melora Marshall as Malvolio, Sean McConaghy as Antonio, Dante Ryan (alternating with Isaac Wilkins) as Valentine, Lawrence Sonderling as the Sea Captian, Elizabeth Tobias as Maria, Frank Weidner as Aguecheck, and Time Winters as Feste. Garrett Botts, Jacob Louis, Moriah McAda Salvia, Julia Stier, Anna Telfer, and Laura Wineland appear as ensemble players.

Will Geer’s Theatricum Botanicum is presented in an outdoor location set within a grotto area. This location may bring a chill in its air, even in the middle of a summer heat wave. It’s suggested that an attendee brings a jacket along. And even though the bleacher-esque seating consists of hard benches, it may also be ideal to bring a seat cushion along for personal comfort. (If one doesn’t have access to a seat cushion, the theater offers cushions to use for a two dollar surcharge!) And with the said outdoor setting, one might hear the sounds of nature such as frogs croaking, crickets chirping, and an occasional dog barking. But those sound of the wild only brings the emotions up that come with adding to a performance that is classic in nature and upbeat in spirit, even if that “upbeat” is used for a dramatic effect!

Directed by Ellen Geer, the daughter of the theater’s founder and namesake Will Geer, TWELFTH NIGHT or “What You Will”, is a great stage piece to experience Shakespeare for the first time, or for the first time in a long while. It may also be a good idea to “brush up your Shakespeare” in order to become familiar with the program presented as it may be a bit hard to follow. (After all, it is some 400+ years old!) But once one gets past of all the flowering dialogue spoken, one will witness high moving theater at its finest! And as ol’ Willie might say, the play’s the thing as you like it!

PS…the “twelfth night” reference relates to the twelfth day of the Christmas season, January 6th aka Three Kings Day. Although there is no mention of either period within its plot or dialogue, it’s still a work that’s Shakespearian in style and grace to its fullest!

TWELTH NIGHT, presented and performed by Will Geer’s Theatricum Botanicum, 1419 North Topanga Canyon Blvd, Topanga, until September 28th. Showtimes run on Sundays at 4:00 PM June 9th and 16th, July 21st, August 11th and 18th, and September 15th; Saturdays at 4:00 PM July 6th and 13th, and September 7th and 21st; Saturdays at 8:00 PM August 24th and September 28th; Sunday nights at 8:00 PM June 23rd and 30th, and September 1st; and on Friday, August 2nd at 8:00 PM.

For ticket reservations and for more details, call (310) 455-3723, or via online at http://www.Theatricum.com.

One can also follow the Theatricum Botanicum through social media via Facebook http://www.facebook.com/Theatricum, Twitter @Theatricum, and Instagram @Theatricum_Botanicum
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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!