In another chapter of the continuing saga of how television is once again changing, another entry to the streaming wars recently made their mark.

NBCUniversal recently gave a name to their new streaming service that will open in the Spring of ’20. It’s calling itself Peacock, named after the bird that has been part of The National Broadcasting Company (NBC) since 1956 when it was in the process of introducing color TV, perhaps the most significant improvement of TV that became mainstream in the 20th century. (High definition, although being tested, didn’t become the standard until the middle 2000s i.e. the 21st Century!)

As of this writing, there will be a number of new and improved streaming services here and/or “coming soon” that will offer a vast selection of content; old, new, and new again. The new stuff will be programs never seen before. The old stuff will be time tested favorites that were created within the last thirty years. (Friends, The Office, Seinfeld, etc.) as well as a few remakes, or in better terms, reboots! Peacock will offer reboots of two other shows from the 1980s and 1990s; Saved By The Bell, and Punky Brewster. The former series is based on a live action series for youth that was once part of NBC’s Saturday morning lineup, while the latter series was a prime time sitcom whose namesake was supposedly named after a girl that NBC’s programming head at the time, Brandon Tartikoff once knew as a youth!

It really isn’t any surprise to figure out why streaming media is now part of the many new comings of TV. There are the many reasons behind that note. First, streaming media can be obtained through any electronic device that sports a screen and can be connected to the internet, wired or wireless. Second, the programs can be viewed whenever the viewer desires, rather than on let’s say Thursday nights at 8:30 PM. (7:30 PM Central and Mountain times.) And in most cases, one can watch one episode at a time, or become a video hog and view every episode one after another for hours at a time. This method of watching one episode after the other is called “binge watching”. However, some of the streaming services will only release a few episodes of a programs at a time in order to give the viewer a serialized feel to it by also giving a few cliffhanger aspects to it all. This is assuming that the series in question offers some kind of a story arc. But most programs, especially programs that are not sitcoms, to have that continuity to it all. This means that if one begins to watch the series starting on episode five, some content will be missing or it won’t make much sense! You’ve got to start on EP1!!

However, the real reason for streaming’s appeal was the monthly service price for a subscription. Most of the streaming channels are available a la carte, meaning one can get those channels one at a time and to their choosing. Some services are offering package deals, such as Disney is going for their Disney+ and ESPN programs at a package rate. This is totally different with cable TV where the service would be for so much per month, offering channels that the subscriber may view a few times or not at all while paying for the privilege.

To give you readers an idea to what we are commenting about, back in the 2000s, this writer knew of somebody who was paying $121.00 per month to their local CATV provider to only watch three channels: Bravo, The Discovery Channel, and A&E. This same subscriber has access to 110 active channels, 30 that were “reserved for future use”, and the rest were audio only channels that offered a selection of music based on genre. One the screen as the music played, a static photo of the artist performing the song was displayed or a stock photo of an image that would fit the mood of the song was on the screen if the artist photos were not available. The name of the song, the artist name, and the source to where the song came from was displayed on the lower right side of the screen–MTV style!

Each decade of the 21st century had some change or improvement when it comes to TV within this domestic landscape. The 2000s introduced high def TV signals while is ended standard resolution TV–the kind that’s been around since the 1940s, as well as antilog signals. It was saw the end of the traditional CRT TVs that featured a square screen made of glass, as well as the end of the VCR. The 2010s made high def the norm while sets became longer and flatter in size and scope. The 20’s may show the fading of cable TV as will as DVD media. However, not everything that can be viewed on a TV device will be available via streaming since it’s more of a legal thing that a technological aspect.

Because of this, DVDs are not necessarily going away for good., so don’t quite toss out that DVD machine yet! And if one is a real consigner of content, many titles that were once available on commercially released videotapes may no longer be available anymore! (It’s another legal thing!) And the only way to see some content that’s out of print (so to speak), one needs a VCR to view it back. Keep in mind that the video will be seen at around 240 scan lines, making the picture look washed out when viewed on a 4k set. However, unless some lawyers get their acts together, one is never going to see a specific movie, TV show, or some other content on any other medium for a while, if at all!

Yours truly has been asked a number of times on what kind of programs I take a look at existing on the TV universe. I really never made any real comments toward this question. However, yours truly will give a reply to that time tested inquiry in a future issue of ALO-L.

So as they would say on TV, stay tuned!!

Continuing its limited run at The Zephyr Theatre on Melrose is Karen Lukesh’s new play DO US PART, a mini melodrama of a soon to be divorced couple having what appears to be their final stand.

Karen Kukesh and Scott Speiser are Dee and Nick. They have just completed their 11th (and final) year as husband and wife. Now in the final process of dissolving their marriage for keeps, they are packing their respectable goods from the home that was once theirs. Their meeting seems to be rather stilted as they still continue to dish out their faults. Although they both admit that they are beginning to “see” other people, they still desire to have they last minute say with each other. It’s not as easy to call it quits after a decade plus. But can they really end it all? Better still, is there hope for Nick and Dee, even though their attitudes may say otherwise?

This one act play written, directed, and co-starring Karen Kukesh, is a piece that can be lifted from what is known as “real life”. It’s generally a play that takes upon a comical look of a couple that thought they had it all, but it appears that the “all” wasn’t as cracked up as it could. The dialogue between the two is fast paced, cocky at times, while it holds some hints of sweetness to it all. They both come to their own conclusions within its sixty or so minute running time–something that a real life situation could really use.

What makes this play as charming as it is in spite of its theme of a marriage gone to pot, is the fact that it holds simplicity. Its stage set just consists of a few scattered cardboard boxes full of clothing, paperback books, CDs, along with an oversized wedding album that is now all for naught. These props represent a few of the things that are just reminders of a domestic life that is no more.

For those that desire a classic case of less-is-more theater, DO US PART fits that bill. It’s a comedy that tests if a marriage can really last through personal choice, or through dumb luck.

DO US PART, performs at The Zephyr Theatre, 7456 Melrose Ave., Los Angeles, until October 24th. Showtimes are Thursday nights at 8:00 PM. For ticket reservations, call (800) 838-3006, or via online at
Art Shulman’s CHAMP AND HIS FOUR WOMEN, a comedy-drama about a man who juggles a quartet of women that are part of his life while one dwells in the afterlife, makes its world premier at North Hollywood’s T.U. Studios.

Anthony Backman is Richard, who goes by his nickname “Champ”. He was once married to Susie (Rebecca Westberg), who Champ called “Princess”. It’s been a year since she passed away, yet her spirit is present within Champ’s humble condo home. Although he is alone in his condo, it seems that living there isn’t as feasible for him. (Besides, he could use the money for its sale!) So he uses the services of a real estate agent he first met at his gym, Cheryl (Caroline Westheimer). She is there as a professional, but as someone who may act as his companion. Adding to this mix is Esther (Leah Bass), a neighbor who does Champ’s laundry if not dispensing her spin on advice, and Annie (Shelby Janes), who works at the deli that makes his favorite sandwiches he partakes in!

This comic drama (or dramatic comedy) by regional playwright Art Shulman is a tale that focuses upon one’s personal conflict between the notion of letting go and moving on within one’s personal life. The cast that appear in this production are rather appealing. Anthony Backman as Champ is portrayed as a humble sole with shades of a person with hopelessly romantic traits, yet keeps on with his comical allure. (He can tell jokes, even if those jokes fall flat!) Leah Bass as Esther serves as the neighbor who is a bit on the nosy side, yet still keeps her heart of gold. Caroline Westheimer as Cheryl is straight forward in her line of work, yet gets along with Champ’s ideal. Shelby Janes as Annie is just as charming and perhaps can be the right person for Champ, outside of creating his sandwiches the way he likes ‘em! Rounding out the cast is Rebecca Westberg as Susie a.k.a. Princess, Champ’s real love of his life. Princess remains as a ghost that gave him her final (and written) notes for him just before she was sent to the afterlife.

Stan Mazin directs this play that is more melodramatic that comical, although it doesn’t get overly serious. It’s also talky, meaning that there are a lot of issues noted. Those plot elements just brings the backstory up front for the audience to follow up to.

CHAMP AND HIS FOUR WOMAN is a appealing play that serves its purpose, reminding those that one is never totally gone, let alone forgotten. It also shows how life can become a wonder as well.

CHAMP AND HIS FOUR WOMEN, performs at the T.U. Studios, 10943 Camarillo Street (at Lankershim Blvd. and Vineland Avenue), North Hollywood, until November 24th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday afternoons at 2:00 PM. For reservations and further information, call (818) 646-0007, or online at
MALEFICENT: MISTRESS OF EVIL (Disney) stars Angelina Jolie as the title character. Elle Fanning is her goddaughter Aurora as the hailing Queen of the Moors, the mythical land that harks fairies and other fantasy-type creatures. Harris Dickinson is Prince Phillip, son of King John (Robert Lindsay) and Queen Ingrith (Michelle Pfeiffer) who rule the neighboring kingdom of Ulstead. When Phillip asks Aurora’s hand in marriage, the task of the two families soon to be united in marriage lean toward the arrangement of a formal dinner party at the castle of the king and queen to commerate the celebration. It first appears that this dinner meeting may hold some complications. Malificent agrees to meet the future in-laws, even getting some training in royal etiquette through her assistant and companion, her raven Diaval (Sam Riley), who appears in human form when desired. At the dinner party, what begins as simple small talk conversation unfolds into something bigger. This leads Maleicent to place a curse of King John, putting him into a deep sleep. Will a kiss break the spell, or is there more into a once peaceful kingdom getting inside of a conflict between the citizens of Ulstead and the creatures within the Moors?

This feature film is a sequel of sorts from the 2014 release Maleficent from The Walt Disney Company which in turn, was extracted from the 1959 animated release Sleeping Beauty. The current release, as well as its follow up, is another take of Disney making “live action” versions of stories taken from “cartoon” editions.

As to what this title provides, it features not only a slew of special effects (of course), but it adds more depth to all of the characters that appear throughout. Angelina Jolie as the evil Maleficent (as the title of this flick suggests) is evil by way of her stern looks and through the curse that starts the film’s plot points. Elle Fanning as Aurora isn’t the sweet and syrupy princess as Disney tends to market her as, but holds a firm caricature of her self. Although the studio uses their princess “collection” as a major source of income, they are obligated to tone down the innocence just a bit to fit the current standards of total girly-dom.

There is plenty of action and conflict to view, as this movie is as expected as pure fantasy. There are a few other charactors of note that are featured to make the fantasy quite possible. Chiwetle Ejiofor appears as Conall, a winged creature who befriends Maleficent as a dark fairy. Ditto for Borra, as played by Ed Skrein, another dark fairy is desires more war than peace. These characters are just as macabre and scary looking through the tone of the screenplay as written by Linda Woolverton and Nora Harpster & Micah Fitzerman-Blue. The darkness angle depicted is more akin to a Grimm’s Fairy Tale of yore than standard Disney fodder. However, there isn’t any gore or bloodshed depicted. (After all, it is a Disney title!) But even with its “PG” rating, it’s a movie that isn’t meant for all kids–perhaps from age ten and up at the very least! However, since kids age ten and less makes up Disney’s core fan base (along with its major source of money making income), perhaps the studio is selling itself short!

Directed by Joachim Ronning, MALEFICENT: MISTRESS OF EVIL is an adult fantasy piece that is more Disney-esque than let’s say, a super hero action picture! (And never mind the fact that the Marvel super heroes is owned and operated by the same management!) It’s not as family friendly as Disney’s other “live action” version of a former traditional cartoons such as last summer’s The Lion King, but still holds plenty of attention! For those that seek more “live” versions of their cartoon features, check out the upcoming Lady and the Tramp, soon to appear on the Disney+ streaming service. However, LATT is a TV movie. M:MOE is a theatrical vehicle! So there!

MALEFICENT: MISTRESS OF EVIL, now appearing at all multiplexes nationwide.
is a presentation of Linear Cycle Productions
@AccessiblyLive (Twitter)
(Accessibly Live’s channel on YouTube)

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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!



This month sparks a landmark or sorts for yours truly. The landmark event being referred to marks the time I experienced my first entry into the world that can be called cyberspace. This is the so-called “place” that is does not exist in any physical sense, but it’s a domain that is everywhere whenever folks realize it or not. However, it was a journey that I didn’t recognize at first. It was something that I remembered that would change a course for me, along with the zillions of folks out there that would later join me to use, misuse, and abuse.

Twenty five years ago, I entered cyberspace for the first time to visit the the first web site I ever viewed!

Here’s the story on how that all happened.

In October of 1994, the National Association of Broadcasters, better known as the NAB, hosted the NAB Radio convention. This was a trade show for those involved in the radio industry from engineering to programming and all points in between. For three days, the industry would gather to view the latest in radio/audio technology, take part in various workshop panels that speak about the radio industry, as well as attend a number of after parties hosted by various companies involved in the business called radio.

That year, the convention was held at the Los Angeles Convention in downtown LA. At the time, the convention center just opened their south hall, a massive hall space that expanded the convention site that linked the older and smaller west hall, increasing the space to host big-deal conventions.

The area where the convention site was located was in a semi-run down part of town. A collection of parking lots circled the convention building. Around the various streets were a group of smaller hotels, as well as smaller buildings ranging from retails stores (including two auto dealers), and some older apartment building where a lower class clientele called home. The massive Staples Center was in the planning stages whose goal was to bring life in an area of the city that was being avoided through any and all means.

Downtown at the time was a place where people worked at their jobs during business hours, only to leave in the early evening to the outer regions of the area based upon where the freeways would take the commuters. After hours, the area was a ghost town, only inhibited by those that were not ghosts per se, but were scary enough where one would want to be anywhere except this “heart of the city”.

Anyway, let’s get back to the NAB Radio show. I attended not because I was involved in radio, although I did hold an interest in that industry as a listener and fan. I attended to see what was going on in the industry, as well as grab as much swag I could get away with, and to attend (crash?) a number of after parties that were going on after the show closed for the day around 6:00 PM. The after party hosted by radio show distributer Westwood One was a blast, allowing me to meet a number of radio personalities that were part of the WWOne domain such as Jim Bohannon (Larry King’s substitute host), Tom Snyder, the former host of NBC’s The Tomorrow Show that was going to host a radio talk program with WWOne, as well as a few other folks, many of those names long forgotten!

Anyway, at the convention there was the exhibit hall where various companies involved in radio were showing off their goods and services. As I was trolling among the exhibit hall grabbing as many freebies I could find, raging from the standard pens and notepads with the company logo affixed on them, to audio cassettes of demo shows of radio programs available for syndication, I visited one booth that was small in square footage space, but important enough.

The booth I visited was hosted by the Federal Emergency Management Agency (FEMA) a government agency that at the time was an independent agency to assist areas affected through natural disasters. FEMA was stall making its presence in Los Angeles due to The Northridge earthquake that occurred earlier that year. In the previous year that summer, they were involved covering the areas affected by the flooding of the Mississippi River in the Midwest. FEMA was encouraging radio station managers and programmers with their offering of news and information on informing its listeners with the details on how FEMA can assist their regions in case of an emergency.

Placed on their table in front of their booth was a collection of flyers and the usual amount of swag. Seated on the left side was a computer monitor that was connected to the FEMA website. I was told by the FEMA rep on duty that this site can be accessed by anyone with a computer connected to “the internet” with all of the latest details from FEMA posted. Their website can be accessed through any Netscape web browser by typing in anytime day or night, seven days a week.

I recall browsing the site seeing what info was placed there. After glancing at it for about a minute or two, I was very impressed that anyone connected to that thing called the internet can get the latest from FEMA. However, in order to do such, one needed a computer machine and some way to connect to the internet. I, also, had no such resources available to me at that time. But I did thank the person at the FEMA booth for the information, only to saunter off to another booth nearby that was hosted by a radio show distribution company offering stations to become an affiliate of a talk show called “After The Rush”, designed to be aired right after Rush Limbaugh’s radio gab fest. (I still have the demo cassette I grabbed. However, with all of the audio and video tapes I own, I have yet to listen to it. Maybe one year soon…!)

Little did I know at the time that that glance on that FEMA website of long ago would become the first time I entered cyberspace. It would be a few more years until I did get my first computer machine–a custom made desktop tower that ran a Windows 95 operating system, along with a Hayes 140,000 baud external modem that connected to the internet via telephone line by calling a local phone number provided by an internet provider called KBBS that would tie up my phone. When I was “on-line”, nobody was able to call me as the caller would just receive a busy signal. If I wanted to make a call, I would have to go “off-line” in order to get phone access.

Of course, things have changed. The NAB Radio Show is still around. (Now called “The Radio Show” that incorporates streaming audio and podcasts.) Its next show takes place in Nashville, Tennessee in September of ’20. FEMA is now part of the Department of Homeland Security, and has gone through their growing pains of late, still accessible at Microsoft canned Windows 95 years ago, and is now in the process of throwing out Windows 7..uh..out the window! KBBS is long gone, as well as Netscape. The desktop computer and matching modem I once used was tossed out in the recycling bin. My next machine was a Macintosh Performa 575, made by Apple Computer, and you can bet Apple is still alive and kicking! I switched operating systems then, and never looked back since!

That event at a convention now long forgotten is part of my personal portfolio on how I embraced media for the first time. Soon, I will emote upon the first time I encountered radio and television. Stay tuned to this hear news service for those updates!

JOJO RABBIT (Fox Searchlight) takes place in Falkenheim, Germany c.1945. The country is under Nazi rule. Although the nations fighting the Germans are gaining strength, Deutschland is doing its best to stay afloat. Ten and a half year old JoJo Betzler (Roman Griffin Davis) lives with his mother Rosie (Scarlett Johansson). Jojo’s father is away in battle fighting for the cause. Although things are rather tough in Nazi Germany, Jojo’s patriotism rings true.

He starts to show off that patriotism when he is able to join the Jungvolk, aka The Hitler Youth, a group that resembles the Boy Scouts. However, instead of learning how to tie knots or to pitch a tent, they learn how to throw hand grenades and how to kill the enemy. In spite of this training, Jojo attempts to do his best for his mom. He also leans to a special friend. He is of the imaginary friend type named Adolph (Taika Waititi), who has an uncanny resemblance to der Furier, except this Adolph is much more friendlier and doesn’t yell as much! Once afternoon when Jojo is home alone, he discovers a secret panel on a wall within his mother’s bedroom. Behind that panel is a secret hiding place. Inside of that hiding place, he discovers a sixteen year old girl named Elsa (Thomasin McKenzie) who is Jewish. It seems that Rosie is hiding her, in spite of what consequences she may face with the Gestapo at bay. Even through JoJo is trained to kill all Jews, he begins to feel for her, even through that feeling can become a bit stilted at times.

This feature, directed and written by Taika Waititi and based upon Christine Leunens’ novel Caging Skies is a feature that takes a premise of an era and political situation that doesn’t hold much comic relief on its own. Yet it does carry some of the lighter side of this darker period. Although this movie is billed as a satire (for which is is), the comedy involved isn’t as fast and furious as it could be. Mel Brooks did a better job in that department. Ditto for Charlie Chaplin appearing in The Great Dictator, as well as The Three Stooges(!) in the short subjects You Nazi Spy and I’ll Never Heil Again! Unlike those titles that were created for more an a mainstream audience of its era, the movie that this review is all about is more geared for a selected audience that desires their, drama, conflict, pathos, and even humor leaning toward an “art house”-type crowd; That is, a group of movie goers that would rather see a feature film geared toward a more sophisticated (and older) audience, rather than an crowd that would prefer a commercial tentpole franchise and its sequels, spinoffs, and knockoffs.

Also appearing in this film are Sam Rockwell as Captain Klenzendorf , Jojo’s “scoutmaster”, and Rebel Wilson as Fraulein Rahm, the scoutmaster of the girl’s division of the Hitler Youth league.

In spite of the nature that this movie takes its jokes upon, JOJO RABBIT isn’t a film for all tastes. Some may be offended. Others may accept it as a macabe yet comical satire. The rest of those may accept it for just what it is! However, it is rather unique and different for what it’s worth! Just don’t expect any sequels connected to this movie, let alone product placement!

PS..where did the name “Jojo Rabbit” came from? It would be a spoiler if this reviewer told that backstory. We will confess to the fact that it does involve a bunny!

JOJO RABBIT is rated “PG-13” for cussing and mild violence. Coming soon to selected theaters.
is a presentation of Linear Cycle Productions
@AccessiblyLive (Twitter)
(Accessibly Live’s channel on YouTube)

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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!


One of the many (and we do mean many) places on the ‘net where you can find the answers to those questions you wanted answered but didn’t know where to look let alone ask, is from the website

Here, folks can ask questions that range from the practical (“How can I get people from parking in front of my house?”), to the interesting-yet-amusing category. (“What is the most embarrassing favor you had to ask?”) Anyone can ask a question, and anyone can answer. We can’t vouch if any of the answers given are true and accurate, but it still constitutes for amusing reading!

One of those many questions that were thrown to the Quora universe was posted by this person who stated “What used to be unacceptable 20 years ago but is now ok”?

The most obvious answers came through the likes on what can be stated and/or depicted through media that at one time may have been offensive, objectionable, and otherwise against moral standards but have gained momentum as a so-called “new normal”, such as the case of the acceptance of same sex marriages or the mainstream use of pot. But there was one answer that we found quite interesting. It was the elements of using initials in writing as well as speech as shorthand for terms, words and phrases that were not part of a name of a company (CBS. IBM, etc.) or a medical terms that was too difficult to pronounce. (Amyotrophic lateral sclerosis, known as ALS or “Lou Gehrig’s disease”.)

The person stated that “text speak” was once limited to through writings on internet “chat rooms” that were popular with younger folks–the same folks that were the first generation weened on home computers and the things that go along with them, are now acceptable as written communication.

When chat rooms first made their make in more of a wider scope, the uses didn’t want to type in full phrases. So shorthand was created to state a comment that could be expressed in just a few letters, such as JAC (“just a second”), IDN (“I don’t know”), or G2G. (“Got to go”). A few of these terms fell upon the wayside, but a number of them remain where their letters created a new word to have their place in an English language dictionary, such as FYI (“for your information”), TMI (“Too much information”), and the most famous one of them all, LOL. (“Laughing out loud”).

In the media, journalists that knew better would never sport out initials to express an idea through commercial media. Now, thanks to the ‘net where just about all commercial media is found and takes advantage of, uses chat room initials as part of their writings. And since chat rooms were first around as far back as the 1980s, those that were the first generation of users are now in their 40s, a time in one’s life that is now deemed as “middle aged”.

When cell phones first introduced the notion of sending message via text around the early-middle 2000s, those uses were able to send a message to somebody (rather than through email) that can be received through the receiver’s phone immediately. Of course, those of as youthful age were the ones that embraced this notion of sending a written note to a friend about something or another, using those same chat room terms to get their point across. If the texter wanted a reply, a TMB (“text me back”) would work out fine.

Smartphones were the electronic device that changed everything when it came to personal communication. And texting because rather popular from that point. Not so much with kids, but through right minded adults! At one time, if one wanted to give some rather short lined details about something, one would place a voice call to the other person. If that other party could not take the call at that moment, one could leave a voice message. Now, people would rather send a text message to provide those same short(er) details. The person receiving the message can read the message when it was appropriate, and reply back when the time was right, assuming that a reply was necessary!

At first, this writer (“me”), thought that texting was not necessarily proper etiquette, believing that sending a text rather than calling was considered as too tacky. However, I discovered that people don’t necessarily have the opportunity to speak verbally due to where they may be at that moment, and would rather send things in writing where nothing can be unintentionally be heard as incorrect–such as forwarding an address, phone number, or somebody’s name or title. Facts about something or another is best if spelled out rather than verbally dictated. I have performed transactions with others using text as exclusive communication. Once in a while, I may leave a voice message to the other person to follow up, but most of the “hard news” communicated was delivered through text.

That last person who answered the Quora statement on what was acceptable now but not in another era went on to comment, “Why talk when you can text?” Texting is now the “new normal” method of communicating with one another. It also relieves the awkwardness of speaking to somebody when the message sender would rather not talk to the other, such as leaving a message to someone due to some kind of “falling out”. If somebody wanted to let’s say, end a romantic relationship, one can do that by text rather than performing that same message via e-mail or even in a face-to-face situation. For the record (“FTR”), sending a text message in order to break up with somebody isn’t necessarily proper in terms of etiquette–depending who you ask! However, it’s done more often that imagined. (Yours truly once had a relationship end by the other person sending me the message of the break-up through email, but that’s for another article!)

It would be interesting to know what elements that are not acceptable in this domestic society now will be relaxed in twenty years. It’s hard to call. However, when that is eventually reviled, we may be thinking upon what elements that were awkward back around the start of the 2020’s are now OK in the 2040s–IYKWIM!!

Making its world premier as a guest production at Los Angeles’ Odyssey Theatre is Brian Reynolds’ MONO/POLY, a dramatic comedy about a group of people that test their fidelity among one another and the outcomes that develop.

The scene unfolds at a costume party attended a group of people consisting of Victoria (Tanya Alexander), Bridget (Renata De Costa), Krystal (Megan Gainey) Susan (Georgia Gould). Jerry (Travis Joe Dixon), Miles (Dennis Renard) and Henri (Angela Sauer). They meet up with Scott (Robert Mammana) who is engaged in a polyamorous based lifestyle who holds a series of intimate relationships with other people, and not necessarily with those of the opposite sex! This method of alternative relations later become interlaced with these same folks that include a pair of couples that were previously monogamous. This leads toward a challengeable drive toward this practice of relationships. Before long, their personal and even business associations become deeply involved and affected. New questions arise. Who is in love with whom? Who is the real husband and/or wife and who will service as its mirror? What must a person do to earn a “hall pass”, and will this pass be given with or without stings attached? And what are the rules between barriers and genders? If relationships are complicated as they are, how better (or worse) will they get?

This new play by writer and director Brian Reynolds is loosely based upon his own experience in hosting a relationship (or relationships) that became more open than what would be considered as standard, if not as “normal”. In this play, the character collective take these decisions as experimental, rather that what’s right and positive vs. wrong and unacceptable. These routines of convictions show this form of romantic relations as one that doesn’t use judgement based on social status. The first act presents much of the humor depicted on the ideas between men and woman’s reaction between love and sex–not necessarily in that order! Its second act becomes a bit more serious and sober, even though the play’s tone never forgets that this is a comedy or rather, a play that is comic in nature.

The cast of players that appear in this production are rather likable. They can represent the so-called “couples next door”, or the people one would find in the office working at a desk near by. This is what gives this play a unique appeal, even with the subjects on hand. Although there isn’t any nudity depicted, it does get slightly graphic. (Sex toys are depicted, but never used as intended!) However, because its subject matter is about sex, then the said props are just part of what is going on behind those closed doors!

Morgan MacDouglas’ set design is created as very minimal. Furnishings and door placements are arranged on stage in a floating manner, meaning they are interchanged from one scene to the next. MacDouglas also designs the costuming and props, giving the cast to dress up, dress down, and even undress based upon their settings and their mood.

MONO/POLY is a very amusing and unique play that again, addresses a lifestyle that is practiced on a small scale. Having multiple partners between men, women, or a combination of both are not for all tastes. But for those that are curious, this play may show that one (wo)man’s fantasy is another (wo)man’s curse. After all, everybody loves a lover, no matter what equipment they may have on (and in) hand!

MONO/POLY, presented by Tubeman Productions, and performs as a guest production at The Odyssey Theatre, 2055 South Sepulveda Blvd. (between Pico and Santa Monica Blvds.), Los Angeles, until November 10th. Showtimes are Thursday through Saturday nights at 8:00 PM, and Sunday matinees at 2:00 PM.

For ticket reservation or for more information, call (310) 477-2055 x 2, or online at
is a presentation of Linear Cycle Productions
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(Accessibly Live’s channel on YouTube)

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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!


We tend to receive a lot of profile bios of people involved in companies both big and small. These bios, written by various PR firms, deal with a short story about a company’s founder, CEO, VP, or whatever title they give to themselves. Some of the bios are written as a straight forward introductory sheet that informs the reader about what they did in their professional career, what companies they are (or were) involved with, as well as their higher educational background. (These are the kind of rundowns one would see on a Linkenin page rather that something found through Facebook!)

A few of these bios are written in a question and answer structure, where the writer of the article will post a question, and then the person being interviewed will give their often long-winded answer.

For instance, the Q&A feature may look something like this:

Q: I see you have called your new book How I Became A Success In Starting A Chicken Ranch On A Chicken Feed Budget. What makes a chicken ranch successful?

A: I wanted to start a chicken ranch because all of my friends were doing it. My pal “Stinky” thought that chickens of the world should be raised on ranches for all of the world to see and later eat! Before long, good ol’ Stink–as I used to call him–would be operating the first chicken ranch open 24 hours, meaning that you can get a chicken at all hours of the day, not just limited to a 9 to 5 operation….

Of course, there will be a selection of question that speak for the person and/or the industry they are involved in that pretty much gets to the point. Once in a while, one will find a question that is getting to become rather common, if not turning into a chiche, in these Q&A rallies.

Among the questions that fall into this category comes to the effect of “What advice you would give to your younger self?”

There are many reasons why the interviewee would ask the person being interviewed. Perhaps one reason that comes to mind is the fact that when anyone was a younger person with a different personality, they had performed tasks and actions where those actions could be called “mistakes”, “errors”, “defaults”, or some other motion where if they knew back then to what they know currently, the person would have performed that action in a different manner by adding to the action for the original response, or not even performing the task at all! Call this part of the “What Was I Thinking?” school of life.

Let’s face it! Just about everyone that has lived within the domestic world that we are presently dwelling in had one of those moments. It doesn’t have anything to do in achieving a form of success in a business or industry. It would involve just living as so-called normal (or near normal) lifestyle. This is a form of life that consists of rather level, perhaps dull and boring, actions everyone does throughout the periods of time they dwell in. It could involve moving to a specific location, accepting some kind of offer or opportunity, or even deciding on what book to read, what diet they should embark in, or even if they should have done something, or not done something, that was regretted long after the fact!

Of course, some of those actions can’t be changed in any way for the same various reasons. The sources that may have been behind it all might no longer exist. A few are now irreverent because what the person who did and/or did not do holds no interest to the matter. And a handful are life long challenges where the person still regrets in doing something or not, even if that action (or lack thereof), was set long in the deep distant past.

It’s quote amusing to discover how people would do things differently if they knew better. Some chuck it up as a simple mistake that has since been corrected. A few post it as an error that made its difference long after the fact. The rest see these actions as an isolated embarrassing moment that they would rather forget. And a lot of these blushing episodes have since been forgotten as they have long moved on.

As for this writer, what would yours truly tell myself as a youthful youth? Plenty! However, those facts o’ life would be ideal for another time and for another article. After all, nobody’s perfect–yet!

The Road Theate Company of North Hollywood continues its world premier run of Angela J. Davis’ THE SPANISH PRAYER BOOK, a drama about a woman’s choice to offer a selection of ancient artifacts for auction, and the man that desires to have those artifacts conserved for heritage preservation.

The story opens in London in the early years of the 21st century. Shortly before his death, Jacob Adler (Allan Wasserman) prevents his former spouse Joan (Laura Gardner) to take a series of old Hebrew books and manuscripts he had kept for a long while. A year after Jacob’s passing, their daughter Michaela (Allison Blaize), a high school teacher living in Oakland, California, arrives to attend the unveiling of her father’s tombstone, a ritual based on Jewish custom. Although she has long abandon her Jewish heritage, she still holds respect toward her family. At the unveiling, she meets Julien Nazir (Richard John Seikaly), an American professor of Jewish and Muslim culture and history. She discovers that these books her father had kept for all of those years turns out to be rare manuscripts that are centuries old, “given” to him when he fled his native Germany during the Nazi occupation in 1941. Now these books are being consigned through a prestige auction house going to the highest bidder. These manuscripts, especially one with the informal name “Spanish Prayer Book”, is a 14th Century document that was published in Spain before the Jews were exiled in that nation. Its worth is appraised as a seven digit monetary figure. Julien believes (along with an American based Government official) that the books should not be sold off due to its mysterious background. Michaela, deep in debt, could use the money from the auction sale. But what is the real backstory to these documents? Were they actually rescued from possible destruction from the Nazis, or where they really removed for another purpose i.e. stolen? And how important are these books for the order of the preservation of Hebrew heritage? It’s a balance between the concerns of the legacy of a traditional faith, the power of financial value, and if possession is really nine tenths of the law?

This new play by playwright Angela J. Davis takes its premise inspired by an actual episode where in the 1980’s, a New York based auction house of fine antiquities acquired a collection of unique and rare Hebrew manuscripts where is was being consigned through an anonymous source. Upon inspection, the said documents were connected to a cultural library foundation in Berlin that the Nazis disbanded where its possession were in question. That event was thus dramatized into this play that shows its drama based through that exact premise.

The production itself follows a non-linear pattern between the contemporary scenes (London c.2009) and Germany c.1941 that show off the backstory to the source of the manuscripts where Michaela’s ancestors Alexander Adler (Carlos Lacamara) and Channa Wild (Tiffany Wolff) attempt to flee for their lives from the Nazi regime with the prized documents in hand. These scenes makes an attempt to clear the background of the old books that is the center of the conflicts.

Along with the performers seen on stage that also includes Amy Tolsky performing in a number of roles, Yuki Izumihara’s set design is relatively simple. There are no furnishings depicted. Only a few squared blocks colored off-white that matches the stage set are used to depicted various scenes, settings, and locations. Visual projections are utilized (also designed by Yuki Izumihara), that show off the lavish and detailed illustrations taken from the actual ancient Hebrew manuscripts that depict stories and fables from the Old Testament enhancing its rarity. Heather Harper’s prop design shows in much smaller detail, the books of old that are only to be handled by fiber free archivists gloves.

Directed by Lee Sankowich, THE SPANISH PRAYER BOOK presents in dramatic elements the issues related toward the fate of sacred manuscripts. To quote one of the guidelines that archivists live by, preservation without access isn’t preservation. If that is (or not) the case, then what is…?

THE SPANISH PRAYER BOOK, presented by The Road Theatre Company and performs at The Road on Magnolia, 10747 Magnolia Blvd, North Hollywood, until November 23rd. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday matinees at 2:00 PM.

For ticket reservations or for more details, call (818) 761-8838, or via online at
Glendale’s Brand Park presents an outdoor Shakespeare-in-the-park event with KING LEAR, the classic tragic play presented with a contemporary twist.

Carl Weintraub is the name ruler of Britannia who offers to entrust his power and kingdom to his three daughters Goneril (Veronica Maccari), Regan (Chineze Enokwechi) and Cordelia (Jasmine Ilarde). But all three must first prove their honor and love for him. When Cordelia, the youngest and Lear’s most cherished daughter, declares nothing, he is outranged with her answer, only to leave her with literary nothing. This action starts toward his downward spiral into thoughts of his daughter’s betraying him and his slow mental demise.

As expected, this is the classic tale that has been entertaining theatre audiences for some 400 years. (413 to be exact–give or take a fortnight!) This time around, all of the characters are dressed in period costumes from the 21st century as designed by Melissa Wilson. This method of dress points out the timeless notion that Shakespearian theater never goes out of style! Indeed, some of the language can be a bit hard to decipher, but that is what makes plays extracted from the pen of The Bard just as fascinating way back then and it is in the world of today.

In this production, a cast of players that include Jennifer Ashe as (the) Fool, Carlo Di Alba as Albany, Kelton Jones as Gloucester, Massimo Napoli as Edmund, Madison Young as Edgar, John Ogden as Kent, and Daisy Koprowski, Christine Gan, and Emma Petersen as the granddaughters who will perhaps take over the space that the good King Lear vacated, perform their roles into the era of the present while keeping the poetic verse all in check. Rececca Lynne’s stage direction has the characters emote without any formal stage sets or backdrop. In fact, the backdrop is a corner section of the park, where the only elements seen of its “stage” is mostly trees and grass. There is a short platform with a ornate statue sitting on its top, but that is there to represent King Lear’s vast kingdom.

For those that enjoy a play that’s been around for multiple centuries that continues to keep with its pace as well as to experience such a production in a “less-is-more” setting all in the great outdoors of Brand Park, this seek no further because here it is!!

Depending on the weather, it’s recommended to bring a light jacket along as it may get a bit chilly. Also, bring along a blanket or a lawn chair as this program is in a park setting. And picnicking is encouraged!

KING LEAR, presented by the Dean Productions Theatre Company, performs outdoors at Brand Park, 1601 West Mountain Avenue, Glendale, until October 19th. Showtimes are Thursday through Saturday nights at 8:00 PM.

For ticket reservations and for more information, visit the website
JUDY (Roadside Attractions) stars Renée Zellweger as Judy Garland, a woman seeking her “big break” after going through a series of personal and emotional tribulations.

It’s the winter of 1968. Judy is in her middle 40’s. Her glory days as a young star at MGM has long past. She’s deep in debt, and is undergoing a custody battle between her two kids Lorna (Bella Ramsey) and Joey (Lewin Llody) from her ex (and fourth) husband Sid Luft (Rufus Sewill). Without a place of her own, she attempts to shack up with Sid. However, he can take the kids in, but not Judy. While attending a party in the Hollywood Hills, she meets Mickey Deans (Finn Wittrock) a man much younger that her. He has a lot of business ventures going, yet Judy is attracted to his charm. But she still needs to earn money to pay four million to the IRS, and to have a home for her kids. Without either, she’ll be broke and may lost custody. There is one bright spot. She accepts an offer from Bernard Delfont (Michael Gambon) who operates a club and cabaret in London, The Talk of the Town. Under desperation, she accepts the gig to perform for a five week run. In spite of her working again, she is still unsettled with her addiction to pills that’s been continuing since the days as a child star at Metro. While dealing with her personal demons, she finds her way into a comeback success that is indeed “over the rainbow”.

This bio film dealing with the final year of Judy Garland’s life was adapted from Peter Quilter’s stage play End Of The Rainbow into a screenplay by Tom Edge that showcases one of the “world’s greatest entertainers” into a battle between the people that loved her, the people that once loved her, as well as the her own self.

Renée Zellweger as Judy shows out much of her mannerism to near perfection. She plays this singer as a woman that is 47 years in age with the looks of somebody twenty to twenty five years older. Her singing ability does match very close to the original. The reason why it’s not head-on? Judy Garland is the only one that can sing as well as Judy Garland. Alas, it’s been some fifty years since her passing due to a mix of pills and alcohol.

Within this feature, there are brief flashback scenes to 1938 with the sixteen year old Garland (played by Darci Show) who just joined the studio run by movie mogul Louis B. Meyer (Richard Cordery) that tells the young starlet to do what he says and she’ll be a star, or to leave the studio and become forgotten. There are also flashback scenes between her and her co-star Mickey Rooney (Gus Barry), the first man she falls for, but only in the movies–not in “real life”!

In addition to the above noted cast, Jessie Buckley appears as Rosalyn Wilder, Judy’s personal assistant in London who is responsible of getting her from her hotel suite all ready and dressed and to the theater where an eager audience awaits for her to do what she can do best–sing those favorite tunes that will keep Judy into the limelight. Royce Pierreson is featured as Burt Rhodes, the bandleader of the orchestra who backs up Judy during her club gig. And finally, Andy Nyman and Daniel Cerqueira play Stan and Dan, two older gentleman who are big fans of Judy that eventually befriend her. They appear as mild comic relief who gives this feature film its gay appeal. (Both meanings of “gay”!)

Directed by Rupert Goold, JUDY is far from being the ultimate screen version of the life and times of the former Francis Gumm of Grand Rapids, Minnesota. That tale has yet to be told. However, this film will surface as a movie that isn’t loaded down with Hollywood bio cliches that tends to bog down these types of movies. However, it does leave a few untied story threads. (Those won’t be noted in fear of opening a few spoiler alerts!)

Perhaps the biggest untied thread is that this movie ends six months before her untimely death in June of 1969. What happened during those six months? Does this means there may be a sequel in the works? Since this type of film isn’t the “tentpole movie” variety, it will be hard to say! We’ll see.

JUDY is rated “PG-13” for mild cussing. Now playing in selected theaters.
is a presentation of Linear Cycle Productions
@AccessiblyLive (Twitter)
(Accessibly Live’s channel on YouTube)

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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!


Now that the Emmy Awards are done for this year, (and as a fellow member of The Television Academy, I wish all of the winners well,) now it’s the time to discuss how the movie industry is meshing a lot closer to what TV can offer.

As many of you folks know, the appeal of watching a movie in a traditional theater and viewing the same content on a video screen is slowly yet steadily morphing together. People have been building home theater-type settings inside of their dwelling place for some time. And since the equipment to create such surroundings is getting cheaper to get than ever before, it’s quite possible to have a large screen set within a room or space in where one lives, along with the sound system that comes with it nestled inside to where one hangs their hat–so to speak!

The only element one cannot obtain in watching a feature inside one’s home verses watching the same film inside of a traditional theater is the emotional appeal one can get while seated inside of a large and darken auditorium loaded with strangers who laugh, cry, yell, and otherwise emote to what is taking place on the screen. Much of this emoting is rather good. (Who would want to view a comedy where nobody is laughing with the humor that’s been said and performed on screen?) However, much of what goes on with the audience teeters toward obnoxious behavior, such as talking through the movie, using one’s phone, etc. And of course, there is the admission price to get inside of the theater that is another issue! Prices for theater admission ranges as little as eight dollars to as much as twenty! (It’s quite possible to get some kind of discount based on the person’s age, the time of day one is attending, if one is a member of the military, or some other incentive.) And we won’t discuss anything to do with getting concessions!

Another advantage to going to the movies is the fact that it gets one outside of the house, meaning that for a few hours, one is located inside of a different place that isn’t their homestead–assuming that one wants to get away from the living place where one parks their dirty laundry, among other things!

Of course, watching a movie on a very large screen and viewing the same movie at home is very different. Action/adventure movies always look better in a theatre as one can see the detailed special effects that tend to go with a film loaded with explosions, gunfire, and other kinds of visual action! But when it comes to drama, that tends to look a whole lot better inside of one’s home where one can concentrate with what is going on with its characters and what they have to say and do.

And since this is September, this time of the year (for Hollywood anyway) is the beginning of the release of movies that tend to buck for winning major movie-based awards. These are the kind of movies that has been called “Gimmie-an-Oscar” titles. These are the kind of flicks that feature characters going through some kind of crisis or challenge and how they overcome their dilemma–or not! These movies are usually loaded with lots of talking, complex characters, and at times, tend to take place during historical moments. Alas, they also appeal to those that are of an older demographic such as the so-called “Baby Boomer” generation, those that are 55 and up that grew up watching new(er) movies in a theater-type setting. They also tend to be members of a group or organization connected to the movie making industry that fobs off those same awards during the first two months of the calendar year.

Netflix, the latest kid on the block what wants to be part of the Hollywood experience while keeping their ground in television/video, is planning to release some movies that will play in selected theaters for a three week period, only to offer those same titles on their streaming service for their usual monthly subscription. One title, the Martin Scorsese directed film The Irishman, starring Robert DeNero, Al Pacino, and Joe Pesci about how a hitman for the mob relives his involvement (or not) on the disappearance of Jimmy Hoffa, plans to open “in selected theaters” on November 1st, only to become available for streaming on November 27th–just in time for Thanksgiving! This three week window is there just to satisfy the requirements that the Motion Picture Academy–the folks that fob off The Oscars each year, requires to have a film eligible to win some kind of an award.

This short theatrical window is fine for those that desire to see this film but won’t care to trudge to one of those selected theaters playing this title, only to plunk down the admission price for this privilege–not counting taking a method of getting to the theater as well as taking advantage of the for noted concession stand! But for the monthly subscription cost of Netflix, one can see this same movie for a whole lot less! Of course, there won’t be much of an emotional appeal factor. But with such a melodrama as The Irishman may offer, will it really matter?

Don’t worry folks! Movies and their theaters won’t be going away, or not quite yet! The AMCs, Regals, Cinemarks, and the other theater chains will still be doing their thing, offering the best (or not so best) of what Hollywood has to offer! After all, these movies will indeed be coming soon to a theater near you, rather than coming soon to an internet connected video screen found nearby!

Performing at the Hudson Guild Theatre in Hollywood for a limited run is TREYA’S LAST DANCE, Shyam Bhatt’s solo show of one woman’s quest of companionship while she explores other personal journeys within her life.

Treya, a person of East Indian decent, lives in London. As an unmarried woman, she takes part in a speed dating event where the women are seated at a table, and the possible (male) suitors table hop. For five minutes, each person is to tell a bit about themselves. When their five minutes are up as designated by a timer bell, the men move on to another table, and the cycle continues until each attendee meets their possible date. When Treys’s “date” asks her a single question, Treya’s goes into a routine where she emotes upon various passages, raging from shopping for “biscuits” (cookies), to a description of a sitcom called “Flatmates” (roommates) and the tribulations that are the annoying part of sharing one’s flat. (Apartment). Treya can also perform traditional East Indian dances will her physical skills and grace, far from becoming her final routine.

Shayam Bhatt first presented this performance as part of the Hollywood Fringe Festival a few seasons ago as a shorter and condensed piece. This production is a revised and extended version of that original show. (Disclaimer: This reviewer did not see the original version.) The show begin as Shyam is in customary East Indian garb, performing a traditional dance using her physical flexibility and body style. Then she is quickly dressed in standard clothing. She speaks in British tones using a very thick cockney accent. This accent however, can be at times difficult to understand, especially for those Americans that are not necessarily used to comprehending this method of speech. Much of what Shyam is saying can also be difficult to apprehend as her verbal material becomes rambling at times. In her stage show, she is seated behind a table. (Actually, the table she is seated in really a wooden box painted black.) When the voice, as transcribed by Arun Kamath, asks her a question, Shyam rises from her seat to give her very long winded reply. She is rather animated as she speaks, using facial expressions and body movements that shows off her best talents. She even uses the entire five minute allowed time to say her piece. Thus, the other speed dater (unseen), is never given a chance to get a word in edgewise! Whatever the case, Shyam is the real star here and she can take all the time and effort she desires.

Poonam Basu directs this show that possess an interesting and unique concept. Although the entire production is spoken in English, the English she uses needs subtitles! Sayam has a lot of well written dialogue within her mists. But with being too cockney, those “yankees” in the audience will miss out in a lot of what she has to say!

This performance holds plenty of potential. But if Shyam desires to become successful in speed dating, she really needs to articulate clearly and have her stories hold more continuity. Otherwise, TREYA’S LAST DANCE will wind up as her final choreographed number. And we do want to save the last dance for her, as well as for her audience!

TREYA’S LAST DANCE, presented by Outlandish Cat Productions, and performs at The Hudson Guild Theatre (blackbox stage), 6359 Santa Monica Blvd. one block east of Wilcox at Theatre Row, Hollywood, until October 23rd. Showtimes are Wednesday evenings at 8:00 PM. For ticket reservations and for more information, call (323) 965-9996, or online at
Theatre 40 of Beverly Hills presents for their second program of the 2019-2020 season, the world premier of Leda Siskind’s THE SURVEILLANCE TRILOGY, three separate tales that speak of being watched by somebody or something-known or otherwise!

The first entity-Until All of This is Over, takes place in Los Angeles-1953. A married pair (Landon Beatty and Jocelyn Hall, alternating with Suzanne Slade) lives as a typical couple with an adapted child. The husband was recently investigated by authorities over something about himself and his family. Why were they interested in him? Was it about his political beliefs? Why were these authorities curious on why they adapted a child rather than having a natural birth? Why did his wife attend an all-woman’s college? Was this marriage a set up because the husband was hiding a lifestyle that’s been deemed as unacceptable by society?

The second installment-The Havana Syndrome, takes place in a hotel room in Havana-2017. A doctor (Warren Davis) working on behalf of the CIA interviews a woman (Stacy Moseley) who was employed at the US Embassy on an illness she encountered that came out of nowhere while she was at her home. She was not the only one to suffer from this illness as other embassy workers were experiencing the same symptoms. Could this illness had something to do with strange radio waves aimed at workers for the US State Department? Who, or what, is behind those radio waves? Did this have to do with the opening of diplomatic relations between the US and Cuba, or are these reported illnesses just a coincidence?

The third and final installment is entitled Are You Listening?, takes place in a home located somewhere in the San Fernando Valley. Jezz (Charlotte Evelyn Williams) a one time fashion model turned screenwriter, is completing a deal with a production company close to buying her script. Her adolescent daughter Shira (Squoia Granger) lives with her. Jazz relies upon her A.I. assistant “Angel” on getting the information she needs. But what information is Angel collecting from her and Shira? Jezz’s ex Simon (Max Pescherine), an I.T. guy, knows the insight of what databanks knows about individuals. But for what purpose? Is this purpose used for big e-tailers to target goods based upon their interests rather than needs? And is Angel there to answer questions asked on the spot, or can it listen to order to gather details for some unknown source?

These trio of stage tales question upon the notion that perhaps there is a “big brother” out there that can use information for the good of somebody else at the expense of who is supplying the information. These ideas ring true especially in this post-modern age where data is perhaps the biggest cash crop around–far more than pork bellies and natural gas futures! The stories that are told are based upon true facts that were later documented, giving this stage play a rather eerie persona. It’s not scary in any sense, but it’s enough to register that something knows more about you that you may realize!

Jeff G. Rack, Theatre 40’s resident set designer, created a set that consists of three smaller scenes. Center stage consists of a 1950’s-era home complete with a streamlined love seat, coffee table, and upright table lamp. One stage right represents a simple hotel room in Havana with two ornate upright chairs as its base. On stage left is another living room with a stuffed leather love seat, another coffee table, along with the “Angel” A.I. device, complete with “wings” that glow blue when it’s being spoken to. (Johnny Burton designed the “Angel” device.)

Overall, this play is more serious and sober that one would expect. Again, with technology the way it’s been over the last year, it’s a lot easier to know everything about a person. It’s suggested to take this Theatre 40 production as an eye opener. Getting information at an instant is fast fast and easy for a reason. Just watch yourself because if you don’t, somebody else will!!

THE SURVEILLANCE TRILOGY, presented by Theatre 40 and performs at the Reuben Cordova Theatre, located within the campus of Beverly Hills High School, 241 South Moreno Drive (off little Santa Monica Blvd.) Beverly Hills, until October 14th. Showtimes are Monday, Thursday, Friday, and Saturday nights at 8:00 PM, and Sunday afternoons at 2:00 PM.

For ticket reservations or for more information, call (310) 364-0535, or via online at
LAST SWALLOWS, Cailin Maureen Harrison’s dramity about a family’s parents attempting to make plans for a summer vacation with their adult kids and companions only to have those plans altered, makes its world premier at West Hollywood’s Other Space theater at The Actors Company.

Shaw Purnell and Bob Telford are Elizabeth and Robert Whitestone, two long retired seniors that are the head of their family living in a New England community. Their adult children consists of Julia (Tina Van Berckelaer) the eldest, along with her spouse Edward (Matthew Downs), middle child Matthew (Ty Mayberry) along with his spouse Moira (Leilani Smith), and the youngest one Caroline (Abbey Eiland) and her partner Simone (Leah Zhang), live near and slightly far away. On New Year’s Eve, Liz, with the illusion that her spouce isn’t long for this world, makes a new years resolution to arrange a family vacation at Martha’s Vineyard for the summer season as a last hurrah. That is the easiest part of this idea. From that point, Liz tries to arrange a location and date to have this vacation. Thanks to various schedules, conflicts, and other tribulations (some real, others imagined), nobody can make any solid commitments. Robert would just rather keep to his hobby of bird watching, always ready with spyglasses in hand to view the various birds in the hand if not in the bush. As summer slowly comes and almost goes, the plans are nearly set. That is, when one crisis occurs. Elizabeth’s diagnose is with cancer, and it doesn’t look good!

This play written by Cailin Maureen Harrison takes her inspiration to writing this comedy-drama from her own personal experience when her family planed for a summer getaway only to have things change toward different directions.The situations depicted on stage is actually based on other families planing for something or another only to have others become “too busy” to commit with whatever they may be doing–or not! That is what makes this play rather appealing. It is how domestic families and others within related through blood, marriage, or circumstance, can be as dysfunctional within their own rights.

The cast of eight that appear in this production hold toward their own charm and personality. Shaw Purnell and Bob Telford as Liz and Robert are the heads of state–so to speak. Although Liz calls the shots, Robert takes things as they go along, just as long as he can spy on his fine feathered friends! The adult children get along with each other even as grownups! (What was their childhood like? Who knows?) Their spouses are just there by default. They may bicker and bitch at times, but remain as family for better or for worse!

Kiff Scholl, a mainstay of smaller house theater in the Los Angeles region directs this show that is bittersweet in nature. The comedy isn’t the “laugh-out-loud” variety. The humor depicted is mostly found in the situations rather than through one-line gags. Also, there is some diversity present within this play, as Thomas, as portrayed by Ty Mayberry, is married to Moira, performed by Leilania Smith who is of a mixed race. And Caroline, played by Abby Eiland, is the domestic partner to Simone, played by Leah Zhang, a woman of Asian decent.

Brad Benz’s set design consists of various pieces of furnishings placed strategically among the stage area, representing the various domains where the parents and the kids/spouses/partner works and lives.

LAST SWALLOWS is a play that many can relate to. Granted, not everyone’s family is portrayed as what is seen here, but many episodes and descriptions come pretty close. As the saying is sometimes misquoted, you can pick your friends, but you’re stuck with your family–like ‘em or don’t!

LAST SWALLOWS, presented by Pandelia’s Canary Yellow Company, and performs at The Other Space @ The Actors Company, 916A North Formosa Avenue (south of Santa Monica Blvd.), West Hollywood, until October 20th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday afternoons at 2:00 PM.

For tickets and for more information, call (323) 960-5770, or online at
is a presentation of Linear Cycle Productions
@AccessiblyLive (Twitter)
(Accessibly Live’s channel on YouTube)

(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!


Not too long ago, this writer (“me”) was visiting one of the many “bulletin board” sites that still exist within cyberspace. This bulletin boards tend to have those post a specific comment on a topic of some sort, and others can reply to that comment through words, links, and emojis. Many of these bulletin boards sites, some going back to the early 1990’s, are for various topics and subject that deal in popular culture. Other express notions dealing with such domestic topics as employment, raising families, and the sporting world. And alas, a few express points of view that may not necessarily be of the mainstream and could be suggesting a form of harm to someone or something.

However, I am focusing upon a bulletin board called Talk of the Villages, a bulletin board for the residents of a retirement community called The Villages located in central-east Florida. This community (actually, three communities) are so large in size and scope, they have their own zip codes, and are sustaining in the same fashion to a small town of village. (Thus, the name of this community complex!) The only difference here to an actual town is the majority of those living in The Villages are over the age of 55 and for the most part, retired.

Anyway, there was a post posted by a resident(?) living within that community with the headline topic “Fake Food Has To Go”. Here in this ranting, this person states…

Recently, my grandkids sent me a phone letter saying that they don’t want burgers no more, but these things that look like steak but are made from trees! They say these are much better for you because nobody gets killed in the process!

I tried one of these “burgers”, and they taste like crap! I don’t know why Taylor and Hunter like this junk! I think they switched from real food to the phony kind is because their phones told them to do this!

Has anyone out there tried these fake foods? Did you like them or do you agree they taste like s#it? And do your grandkids also eat this junk, or are they smart enough to eat what’s real?

Some of the response from this post came through such as this….

I remember Tang. Diet sodas which are extremely bad for people for numerous reasons I avoid like the plague. Cheap fake sugar sweetener made from corn is difficult to avoid but I try. My mother served oleo (gag!); I stick with real butter.

Fake meat is not for me. These kids are propagandized in school by radicals from outfits like PETA the schools let in to not eat real meat.

…tofu, kale .now this.. give me a break .. or better yet, a steak

I have a cousin who insists her dog is vegetarian the same as her. I slip it meat whenever I visit. She can’t understand why the dog is so friendly toward me.
The neighbor spotted me doing it once, but said “It’s OK, I have been slipping the dog meat leftovers for ages!”

Our youth has been brainwashed to blindly accept things labeled by certain buzzwords such as echo, green, sustainable, enviro friendly, etc… And God forbid they avoid anything that “empowers” them, whatever that means? Just label something with the appropriate buzzword and it is like mosquitos flying straight into the bug zapper.

Why are some of you so angry? I can guarantee that no school had a PETA assembly to brainwash your grandchildren. Some people find foods enjoyable which others dislike. Bush hated broccoli. Whether a plant based diet is better for your health is debatable. But there is nothing wrong with being aware of how your food choices may impact your health and the planet’s health. There is no debate that the amount of water required to produce equivalent animal vs plant protein is huge. As well as differences in waste, fertilizers, pollutants both air and water, and greenhouse gases. Science has become a dirty word in some communities. Funny how those same anti-science people all want the latest cancer treatment if they or a loved one needs oncologic care. And the best internet and cell phone. All brought to you by science.

They say coconut oil is the best thing to go with kale, it makes it much easier to slide off the plate into the trash…

It seems that the new line of foods that has been coming around within late tends to focus upon substitutes for meat products. Such brands of these products, extracted from plant-based sources are from the likes of Impossible Foods Inc. and Beyond Meat Inc. These items are even gaining the attention of the quick service restaurant (i.e. “fast food) industry. Burger King, for instance, has been testing out a product called the Impossible Whopper. White Castle, a chain of hamburger places that’s been around since the early 1920’s mostly in the midwest and east coast parts of the nation, offers the Impossible Slider. Carl’s Jr. and their midwest counterpart, Hardee’s are offering Beyond Meat products. (Carl’s Jr.‘s turn is available now while Hardee’s will be offering the product later this season.) Even breakfast joints as Dunkin’ (Donuts) and Tim Hortons, a chain of coffee and donuts places mostly in Canada, offers products from Beyond Meat.

And perhaps the biggest one of the QSR of ‘em all, McDonalds, is interested in getting into the game. After all, McD’s is what’s called the “gold standard” in terms of the fast food industry. And anything that The Golden Arches provides, patrons and perhaps their competition, sits up and takes notice.

And there has even been some backlash to this change, but through comical means. Recently, Arby’s, the king of the roast beef sandwiches, recently offered a “carrot” veggie item made from meat products. It’s not known by this writer if this food entry was taken seriously, but it does offer a good laugh to it all!

Of course, the reasons behind this development of meat substitution is multifold. There are a lot of people that doesn’t consume meat either through personal choice or through a related circumstance, and for those that are not too keen over the slaughter of animals for consumption. Those ideas are honored for what they are. But it’s for a way to create new foods where its sources are more plentiful in supply, and can be presented as the real item that it’s switching from. (No weird looking foodstuffs that may even look or possibly taste unappetizing!) The plant based meat not only looks and appears to be real, it even “bleeds” when it’s cooked!

As far as the taste? Recently, I attended The Western Food Service and Hospitality Show that took place in Los Angeles a few weeks back. As expected, meat products made from plant products were present at the show. I had a chance to taste a few “burgers” made from such meat products, A few of what I tasted were pretty close to the real thing. However, I already knew that these beef burgers were not made from beef, so the surprise elements were not there. However, if let’s say I did visit my friendly neighborhood fast food place, and got a burger made from these products and were never told of such, I may be fooled! However, I tend to overload the burger in question with plenty of mustard, ketchup, and whatever other “toppings” the joint provides. All I would taste is a burger gopping with ketchup and mayo. But whatever the case, the products served at this trade show were mighty impressive for what they are.

Will these products cater to those that don’t (or won’t) eat meat because of their own purposes? It’s rather hard to tell as these same consumers keep faith to their eating lifestyle for their own reasons. However, it’s a right step of direction to keep the world supply of food available to all that consume the products. And for the most part, that means all living people!

To sum it all up as stated by this Villager poster…

….As long as they don’t bring back Soylent Green.. lol

The Sacred Fools Theatre Company kicks off their 2019-20 season with the world premier of DEADLY, a macabre musical of a “horror hotel” built and created during a word’s fair, the man that served as “innkeeper”, and the young women that were lured inside!

The setting is Chicago, 1893. The Columbian Exhibition was taking place where the nation as well as the world set their attention to the city along the lakefront where new artistic, natural, and technological wonders were on display for the public to embrace. While the fair commences, a local enterpriser, Herman Webster Mudgett a.k.a. H.H. Holmes (Keith Allen) who operates a pharmacy, opens a hotel. He notices that a selection of unaccompanied women have been interested in checking in as guests. They come to the big city to seek employment and longer term lodging. Holmes doesn’t just offer them lodging and at times employment, but presents them to a state of murder! His first victim is Lizzie Sommers. (Brittany S. Wheeler). Before long, he hires a “handyman” of sorts to furnish the rooms depending gas for a quick and painless(?) way to die, as well as other forms of death. Benjamin Pietzel (French Steward, alternating with David LM McIntyer) is the man hired, who was previously living in an asylum attempting to curb his excessive drinking. His treatment eventually gave him short term memory loss, clouding his judgement. Before long, other victims surfaced: Evelyn Stewart (Kristyn Evelyn), Julia Conner (Erica Hanrahan-Ball) and her young daughter Pearl (Ashley Diane), Anna Williams (Rebecca Larsen) and her sister Minnie (Samantha Barrios). There were others as well. Yet police detective Frank Geyer (Eric Curtis Johnson), would eventually get caught up with Holmes, giving this man of evil the distinction to be later labeled as the nation’s first documented serial killer to terrorize a community.

This musical stage production, with book and lyrics by Vanessa Claire Stewart, and music by Ryan Thomas Johnson along with additional lyrics by Trey Perkins & Guy Picot, is one of those stories that could have been created as an so-called “urban legend”, where the premise is so outlandish, it couldn’t have happened–but it did! However, very little details about the victims of H.H. Holmes were ever recorded by the Chicago press. Perhaps this was due to the nature of their deaths and what Holmes did to them before and after the fact. The city newspapers brushed those facts aside. (“Yellow Journalism” was mostly a product of New York City!) In this stage production, it’s the victims that are emphasized here, giving each one a bit of humanistic background of these women, even remaining on stage after their deaths serving as spirits. They are donned in ragtag outfits as designed by Linda Muggeridge that is a blend of “gay 90’s” floozyness, with hints of zombie ware. But they do not resemble the zombies as seen in horror based media. They are appealing, holding on their independence, and showing no evil! (The two sisters come from Texas with strong Christian values!)

The musical score itself isn’t lively due to the nature of the show’s themes, but serves as quick, not too quirky, with plenty of moody influence. The show’s orchestra, consisting of Brenda Varda on keyboards, Zachary Bernstean on percussion, Lisa Davis on violin, and Katt Newlon on cello under the musical direction of Ryan Thomas Johnson, perform the tunes off-stage and off sight. This was created so the music would enhance the spirit of this settings without the distractions that an on-stage band may result.

Stephen Gifford’s stage design consists of a wooden scaffold block that represents the hotel and its deadly chambers. Corwin Evans’ projection design consists of still and moving imagery projected along a backwall serving as mood enhances that changes along with the stage action that progresses throughout.

Although this morbid episode hasn’t been told to death (no pun intended) over time and tide, the setting was previously presented as a stage play in the Los Angeles region last year as Villainy or H.H. Holmes’ Own Story. (See review-Vol. 23-No. 42). However, that show wasn’t a musical. Granted, such gruesome tales are never set to song for the theater. However, these are times where mass killings are becoming more common than one would desire, and DEADLY, directed by Jaime Robledo, fits the scope.

The Sacred Fools Theatre Company has been presenting plays and musicals (many becoming world premiers) since their existence in 1997 that teeter toward being far from the mainstream. This show kicks off their brand new season, and for judging what the Fools have to offer, it appear they will be “foolin’” for a good long time right in the heart of Hollywood!

DEADLY, presented by Sacred Fools Theater Company, and performs at The Brroadwater Main Stage, 1076 Lillian Way, off Santa Monica Blvd., one block west of Vine Street, Hollywood, until November 2nd. Showtimes are Friday and Saturday nights at 8:00 PM. Special Monday night performance takes place on October 21st 8:00 PM.

For ticket reservations or for more information on this show as well as all other productions as presented by the Sacred Fools, visit
The Odyssey Theatre presents the revival of IN CIRCLES, a musical stage review set to the poetry and prose of writer and poet Gertrude Stein.

In this program, a team of players donned in white are posed within a stage totally colored in cherry red. Jacque Lynn Colton portrays Miss Stein, She is seated among the group of white that do have names, but are never referred to by their proper monikers: Cousin (P.T. Mahoney), Mildred (Chloe Haven), Mabel (Shelby Corley), George (Henry Arber), Sylvia (Ashley Dutson), Jessee (Aaron Jung), and Ollie. (Kyle G. Fuller) With Miss Stein seated within her chair as she is holding court, her group, with a few prompts of verse uttered from the “queen”, sing the nonlinear verse that’s compiled as quirky, static, and could rhyme is you want it to, but doesn’t. With Dole the piano man (Kenneth J. Grimes) seated stage left at an upright and blacked schoolhouse piano, he plays the tunes where the words are set to the music, and the music is set to the verse.

This single act program, first presented as an off-Broadway program c.1967, resembles a non-linear musical that was part of the experimental theatre movement of the 1960’s, and/or a show one could find performing on any 1970‘s-era college campus that supported a theater program. In other words, this is far from a so-called traditional musical that would otherwise hold lively characters, a love interest or two, and a score that assists in getting the story moving along. The score by Al Carmines uses a sassy yet subtle blend of folk, blues, jazz, and maybe a hint of rhythm and blues. (There is no “rock ‘n roll” heard as that kind of music didn’t mature enough for quality musical theater–yet!) The performers have the energetic appeal where their verse tells some kind of tale, only to let go into another saga of sorts. Gertrude herself is the grandmother figure. She has the charm and appeal of a “little old lady” that boy scouts supposedly helped to cross the street.

As to the stage visuals, Mark Guirguis’ set design is situated within a totally red space, including the few props used. (High back chairs and pieces of luggage!) Chu-Hsuan Chang’s lighting balances much of the red colored performance space. Ann Class-Farley’s costuming has the entire ensemble dressed in white, while Gertrude herself resembles Maude Frickett, a character created and played by comedian Jonathan Winters around the era that this show was first compiled! And the robust cast (sans Gertrude) perform their routines through Kate Coleman’s choreography that sets the dramatis personae to fall within the circles thay all sing about.

Directed by David Schweizer, IN CIRCLES is a show that is ideal for the small stage. It also a great way to be introduced to the poetry of Gertrude Stein as her written expression holds a craft set within its own terms. And finally, it plays out as a period piece that doesn’t speak for a specific era or time frame. It’s just all part of the circles.

IN CIRCLES, presented by the Odyssey Theatre Ensemble and performs at The Odyssey Theatre, 2055 South Sepulveda Blvd., Los Angeles, until November 10th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday afternoons at 2:00 PM. Special performances take place on Wednesday, October 16th and 23rd, and Thursday, September 28th. All shows perform at 8:00 P.M.

For ticket reservations and for more information, call (310) 477-2055 x2, or via online at
is a presentation of Linear Cycle Productions
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(Accessibly Live’s channel on YouTube)

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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!


It’s been a while since we opened up our comment page to report on what you the readers think! Here’s some of the comments, opinions, and suggestions. Read on…

I find much of what you write about as a string of news recycled from somewhere else, as well as reviewing movies and TV shows I don’t care to watch. Don’t you feel that you are over crowded?…

-Penny from LA

First of all, we do report on news and details that come from another source, such as the many marketing reports we receive from time to time. We do give out the basic facts that we find from the said report, and at times, give our personal spin to what matters.

As to the movies and TV shows. We don’t review a lot of TV shows per se, since there are more programs than we can handle. To give you an idea, as wonderful as binge watching can be, we find that after a while, it can be a bit tiring and thus, dilutes on what great (or not so great) the program can be. Many critics usually review one or two episodes (usually with the pilot episode), and judge the show from that point. However, we will try to review more TV series as time progresses, if not allows!

As for movies. We don’t review every release for the reasons that in order to review a movie, one has to drag themselves to the movie theater (or screening room) on a specific day and date to watch the thing. All of the major movie studios (six at last count) are not too keen to offer screenings via video streaming yet due to piracy. However, this writer has recently reviewed a few films to keep up with the balance.

As to the movies and TV shows you don’t care for? We can’t really speak upon those matters since we don’t know what you like and what you don’t! Maybe you can write us back and let us what what kind of movies and TV show you can tolerate! We’ll do out best to please you through that point!

…Although elections won’t happen until (2020), where are your politics notes? Who do you see fit in running against Trump? And do you swing to the left or right?


First and foremost. We don’t write about politics in any way or form. As important as political aspects can be, that subject is not within our forte. There are too many places in cyberspace where one can find out about those details. This news service isn’t one of those places!

As to what direction this writer leans toward? Just as long as one doesn’t bump into anything, we continue to progress forward in more of a straight line!
Is this the answer you were looking for…?

…Why don’t you write more personal “coming out” stories you promised to compose? I find your blog much better that way!


The above letter was part of a series of replies we received in the last few weeks when we reported upon our attempt to create more personal tales from the life and times of yours truly. (See Vol. 24.-No. 26 for details) It appears that through the “hits” we receive when a featured story is indeed a tale of a personal nature (so to speak), our numbers increase. We first experienced this kind of increase last year when this news letter wrote about a summer vacation story taken by this writer. (See Vol. 23-Nos. 32 and 33) So we decided to add more stories of this ilk in future episodes. Sure enough, when we did, guess what? More people “hit” us to see what the low down was all about!

Although we still keep up with the media based writings, we will continue to open up and inform you about what’s going on behind the scenes! As to the “coming out” kwatrey wrote about? The term “coming out” has taken a whole new meaning over the last few years. And we will assume that the writer was speaking about a “sweet 16”-esque event. However, this writer never wrote about anything that even came close to any sweet 16 party or related event. (Perhaps kwatrey was getting us confused with another source–that “blog” that (s)he was referring to!) Whatever the case, we do thank you for your comments!

That’s it for now! We do welcome your continued comments and suggestions! See the end of this newsletter on how to get in touch! We would be honored to hear from you!

Until then, see ya!

On September 7th, the Santa Monica Playhouse located in the city of the same name hosted a one night only performance of Susy Porter’s solo show entitled Wake Up Little Suzy, her autobiographical tale where she speaks about her life as self described as “From F*#@ed To Fabulous In Five Easy Decades”.

Susy begins her life in Cleveland Ohio, the only daughter in the family clan. Her father was a blue collar working man the appreciated his little girl. Although her parents eventually divorced, she still kept in contact with her father, maintaining a beloved father-daughter relationship. That changed when that relationship moved toward a different direction not of her making and liking. In spite of what occurred, Susy hung on. She discovered religion and sex almost at the same time! She details her religious life through her notation with attending pentecostal services and a teen and enrolling in a bible college after high school. Her sex life is told though her conversation with “her flower” as represented by a hand puppet(!) As a young adult, she relocated to Los Angeles–or to be precise, relocating to one of the suburban bedroom communities that surround the city, experiencing her good times and not-so-better moments. She says that 2014 was not her best year as she experienced some near deaths (her own), as well as an actual death. (Her beloved cat!) But among almost six decades of living upon her own green earth, Susy survived it all, emoting her epic journey while waking up to the fact.

Jessica Lynn Johnson directed and developed this performance as composed and performed by Susy Porter that showcases a real life, illustrated through pictures and graphics as projected on a back wall set at the rear of the stage area, as well as using a few hand props and pieces of furnishings set among the stage floor. However, the real show here is Susy herself, who admits that her sex life wasn’t as memorable, and how living as a young Christian was only good at and for the moment!

This performance was held as a fundraiser event for the Santa Monica Playhouse, a community theater that’s been in existence in the city since 1960. For most of the theater’s being, it’s been operated and artistically directed by former child star Evelyn Rudie and her life partner Chris DeCarlo as they present a vast variety of stage presentations and performances, from kids/kids-at-heart programs, to shows more geared toward grown-ups for all ages.

The SM Playhouse’s next show is the return of the musical review Love In Bloom, performing in previews from October 5th through the 19th, with an official run October 20th through November 24th.

The Santa Monica Playhouse is located at 1211 4th Street (at Wilshire Blvd.), Santa Monica. More details on all productions appearing at the SM Playhouse can be found online at
is a presentation of Linear Cycle Productions
@AccessiblyLive (Twitter)
(Accessibly Live’s channel on YouTube)

(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!