SENDING A WRONG TEXT

Not so long ago, somebody placed a question on the website quora.com. This is a site found on the ol’ would wide web where one can ask a question about nearly anything on any topic (within reason) and have a group of strangers answer that same question. Many of the questions are of an informative nature, such as job hunting advice, a question about history, military protocols, or about domestic life in general. Others are amusing in nature, not necessarily important per se, but are those questions one would always wanted and answer for but didn’t know how to ask, where to ask, and who to ask.

Among the many questions that were posted on this site came from an inquiring mind that asked “Have you ever accidentally texted the wrong person? What did you say?”

As one may suspect, many of the answers received (eighteen replies as last count) were humorous in nature, the same kind of small stories that people may find funny for the moment within the same realm to the antidotes once found in issues of Reader’s Digest. (“Life in Theses United States”, Humor in Uniform”, etc.) Unlike Reader’s Digest where any published story would be paid for, folks participating in Quora post their replies for free.

This writer won’t be posting those replies from that time tested question. However, we invite any and all to click on the link below to read the answers yourself and on your own time at https://www.quora.com/Have-you-ever-accidently-texted-the-wrong-person-What-did-you-say

It appears that texting, the method of communication where one can send a message using standard letters, numbers, as well as those “pictured words” known as “Emojis” through one’s cell phone has become an engrained way of life. Text messaging was the first real function of a cell phone that didn’t involve sending or receiving a voice message since the early days of the flip phone. When the first generations of smartphones (Apple’s iPhone) came upon the marketplace in 2007, it had text message capabilities, among many other things. Before too long, nearly everyone that had a cell phone ditched the “do nothing” flip phone to take upon the functions of organizing their lives, if not totally taking over their lives. And texting, as this function is called, became part of that way of life. Many folks that are old enough to hold a phone (as little age five year of age), can send messages to those that they know, or they know of. Many of these texts ring as substitutes of actually speaking to somebody on their phone through convenience, circumstance, or as a shield. The shield methods are used by some that for reasons based upon the sender and send-ee because the person or persons are too scared to talk to the other party in person–so to speak!

The method of texting can be a science, skill, or even art. Anyone over the age of seven (maybe even younger) has that ability to type up messages using their thumbs, or even thumb! (Singular). And these people can do such in a rapid pace, sending as many texts to many people in nearly the same time and speed. Those that are a bit older than adolescence can send as many texts, but choose not to since there would not be much of a point in performing such a task! (Some people read their texts sent hours, or even days after the fact!) And for the older sect, the demographic that were last in line to use cell phone technology, their texting is minimal to none. Some of these seasoned people are just getting used to using a phone to call and talk. Never mind doing anything else with them!

As to the “wrong numbers” of the texting world. The episodes told in the Quarta forum are indeed of a comical nature. Again, they may not be earth shattering news, but has become a subject to text (or retext) to one of your BFFs! One can ROTFL to their little heart’s content!

Isn’t modern life wonderful?
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NEWS AND REVIEWS

Performing at The Zephyr Theatre in the Melrose district of Los Angeles is the world premier of D.G. Watson’s THE TRAGEDY: A COMEDY, an unusual tale of a group of talent agents that use a unique method of “power” of receiving their next big thing within the world of entertainment.

The story revolves around a pair of small time literary/talent agents; Larry Stone (Malcolm Barrett) Lisa Conner (Tina Huang) and Derek Stahl (Brandon Scott). It appears that they can’t rustle up any promising actors for any gigs. Their business is rather going on the downside, enough to have the power shut off at their place of business due to unpaid electric bills. They need inspiration to find their “next big thing” to save their business. They call for the assistance of Tony Ramirez (Roland Ruiz), who is in the trade in dispensing not business advice, but a special blend of mushrooms that are rather potent, or actually, hallucinogenic! These agents deal not so much with starving actors, but with alternative beings that range from a motivational speaker, a Greek goddess, as well as others both real or imagined. Will these agents find their next big thing, or is that next big thing something that is part of another mind trip?

This is a rather unique comic play as it holds some idiosyncratic aspects. First, it features some rather amusing lines and plot points. Second, it comes with a number of surreal moments that doesn’t distract, but enhances its humor factor. Third, it even has some low-level audience participation spots. Playwright D. G. Watson creates a play that takes a notion of perceptual anomalies among a backdrop of the entertainment business that makes Hollywood tick! It also features a well rounded comical cast that use their physical abilities as well as their genuine wit. Ahmed Best directs this show that is funny for both the right reasons, and the tripping ones at that!

Adding to the trippiness is Mark Kanieff’s set design that makes notes to the physical hallucinatory moments the lead characters go through when they are working on their magic ‘schrooms!

The additional set of cast members also includes Kim Hamilton, Jason Ryan Lovett, and Claudia Doumit.

There is nothing tragic witnessed in this show as the title may suggest! In fact, it’s funny! Although the subject matter may not necessarily appeal to a mass audience, the entire premise is one big trip! The humor may indeed be on the dark side, but it still holds genuine laughts!

THE TRAGEDY: A COMEDY, presented by the Ammunition Theatre Company, and performs at The Zephyr Theatre, 7456 Melrose Avenue, Los Angeles, until December 3rd. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday evenings at 7:00 PM. For tickets or for more information, go online at http://www.eventbee.com/event?cid=169258874#tickets
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

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ACCESSIBLY LIVE OFF-LINE (C) 2017 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!

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GREY FRIDAY

According to a recent marking report filed by the marking research sector of PwC (once known as PriceWaterhouseCoopers), some 35% of polled consumers stated that they will plan to do some shopping on “Black Friday”, that so-called “shopper’s holiday” that takes place the Friday after Thanksgiving where retail stores offers special one-day-only sales on goods that people have the desire to buy, usually in the form of Christmas/Holiday gifts for somebody on their list, or for themselves. This amount of those stating their shopping plans for that day falls a bit over one third of those asked, is down from a 51% statement by shoppers polled the previous year. In 2015, 59% noted that they will be waiting in line that day after Turkey Day to grab the goods for cheap(er)!

So what is the reason why these folks are not going to rise at dawn, head on over to their favorite retailer(s), wait in a long line, only to be ready, willing, and able to rush into the store to fight with other shoppers in their frenzy just to take advantage of grabbing something that was marked down a significant amount? A lot of reasons!

First, retailers over their many years, tied to beat each other out in starting their Black Friday sales a lot earlier, moving the Black Friday to a week before Thanksgiving. Then they moved it to October, then toward the Summer season, even having Black Friday sales all year round! This changing of the dates gave those the idea that sales take place whenever and wherever the retailers feel like it. Also, since economic times are a lot better that they have been, people have more income to grab goods! Granted, everyone likes to snag a bargain no matter how much money they have. Besides, most of the items folks tend to buy on Black Friday are for themselves. What’s the difference if you give a gift to yourself in December, or in July? And perhaps the most obvious reason why shoppers are not to keen on waiting in line on a cold(er) November morning. Thanks to the ever lovin’ internet, many of these same retailers offers Black Friday sales via the comfort of one’s internet connected device. Cyber Monday, the name of the post-Thanksgiving shopping day where additional bargains were offered via the ‘net, became popular within the last ten years. And using the same game plan that the physical stores offered, Cyber Monday was pushed earlier and earlier where is eventually became an all year-round ploy.

Amazon, the be-all-to-end-all form of shopping to many, had a “Prime Day” last summer, offering discounted items made available to their Prime members, those that fork over $99.00 a year to receive free shipping and other perks. Although Amazon didn’t state how much they made in specific terms, they did earn more during that summer day then they did on the pervious Black Friday and Cyber Monday combined!

Black Friday had been over its not-so-many years of existence, both phrased and cursed by many that’s been exposed to these sale techniques for some time. The ones that are fans to the dark end-of-week stated they they got the best deal of the hour/day/week/month/year thanks to their savvy shopping! Those that curse this day noted that the Thanksgiving weekend spoils the notion of enjoying those four days in November with family, friends, and those within their domain, as this holiday is considered a “family” holiday. Also, many people that work at these retail places may feel they must report to their job the day after Thanksgiving, sometimes reporting an hour before the store opens, sometimes as early as 4:00 AM! And there has been reports of people fighting for items ranging from pushes and shoves, to throwing fists at one another!

However, thanks to a combination of technology and savvy marketing techniques, the art of shopping for the best deals the day after Thanksgiving has lost its luster. This is a good thing for some, and a not-so-great idea for others! But as things tend to progress, so will the art of getting the best deal around for the item one wants, but not necessarily needs! Keep in mind that not everything is offered as the deal of the week! If one needs plumbing supplies, the chances that a plumbing supply outlet will offer door bustin‘ deals are rather low! Maybe the idea of offering a sale on 1/4” elbow joint pipes at 20% for one day only doesn’t have the same appeal to the majority of savvy shoppers. That is, unless one is in the market for a 1/4” elbow joint pipe fixture! (Those even make great gifts, too!)
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NEWS AND REVIEWS

Theatre Palisades closes out their 2017 calendar year with Steve Franco’s IN-LAWS, OUTLAWS, AND OTHER PEOPLE (THAT SHOULD BE SHOT), a comedy about a near dysfunctional family getting together for the festive season, only to have their event interrupted by a pair of outsiders that are just as dysfunctional as the rest of the bunch!

It’s Christmas Eve in Brooklyn New York. And another family gathering is about to take place. Dad Thomas (Jonathan Fahn), and his teen daughter Beth (Tessa Marts) is getting ready to host their clan for a ham dinner. Beth’s mom Janet (Terri Parks) is coming in from an out of town junket but is expected to arrive shortly. Until her arrival, there’s enough family to go around to keep things busy. The guests include Janet’s sister and brother-in-law Bud and Bunny (Andrew Margolin and Laura Goldstein), their teen daughter Tracy (Sierra Laurin Parsons), along with Aunt Rose and Uncle Leo. (Sue Hardie and Mitch Feinstein). The family receives a pair of uninvited and unexpected guests, Tony and Vinny. (Eric Pierce and Cruz Flores). These two are not family members, but a bunch of criminal that knocked over a liquor store and need a quick hideout until the heat’s off. Although Tony and Vinny take the family hostage, nobody seems to take things too serious as everyone holds their own with their mildly annoying personalities. This may not become the best Christmas ever, but it sure is different!

As one can expect, this comedy by Steve Franco is a classic example of a comic farce. The characters involved and the plot the plays is more of a cartoon show than a thrilling drama of a family under siege. The family members are the type of people one would (or could) have in your family–like it or otherwise! Vinny and Tony, as portrayed by Eric Pierce and Cruz Flores aren’t threatening, but play more as bumbling bafoons. Those elements is what makes this play enjoyable, as it’s not real or believable and should be! It’s performed for laughs! However, some of the characters depicted may remind of somebody you as somebody that you may know–or not!

Rounding out the cast includes Darcy Silveria as first neighbor Sue Draper, second neighbor Mrs. Wakowski (Lois Bostwick) and her adolescent kids Paul and Emily (Jeff DeWitt and Hayley Dixon), with Prince Johnson as Officer Henley. Everyone depicts their roles as created within the humble homestead using the set design by Theatre Palisades long standing rep set designer Sherman Wayne.

Directed by Ria Parody Erlich, this play is ideal to have a good laugh for the festive season! The whole concept is about family. The group may be of eccentric stock, but everyone still has heart in their own unique (and possibly weird) way! As the notion found within this production suggests, one can pick and choose their friends, but you are stuck with your family! Or are you really stuck?

IN-LAWS, OUTLAWS, AND OTHER PEOPLE (THAT SHOULD BE SHOT), presented by Theater Palisades, performs at the Pierson Playhouse, 941 Temescal Canyon Road (off Sunset Blvd.), Pacific Palisades, until December 10th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday matinees at 2:00 PM.

Theatre Palisades has announced their 2018 season of plays and musicals. The new season opens with Arthur Miller’s The Price on January 12th, followed by Rick Abbot’s Play On! on April 6th. On June 8th, Frederick Knott’s Write Me A Murder opens, followed by Bark! A Musical on August 31st. Winding up the season is the comedy Parfumerie on November 2nd.

For more information on all shows including how to make reservations for IN-LAWS…, call (310) 454-1970, or via online at http://www.TheatrePalisades.com
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This humble reviewer recently had the opportunity to stumble across a little jazz club located within an out-of-the-way restaurant located within the downtown region. The club calls itself Bar Fedora, named after the hat that made Frankie of Hoboken famous for donning. This hint sets the mood for this place–a small dimly lit location that sports an art deco-esque motif that one can find perched in the back of a cosmopolitan dressed restaurant, very much akin to those jazz clubs that grew from the speakeasy era and were the set place to hear live jazz. This spot is more tidy as it’s not smokey (thanks to current bans of smoking inside of eateries), but is friendly enough to have a drink, perhaps to grab a light meal, and to ponder upon the musical notes heard within.

One venture yours truly attended was last Saturday, November 4th. On the bill that night was something called “The Triad Sessions”, consisting of a trio of “..ladies with unique voices, solo sets, and three part harmonies”. (The term used in quotes were taken from the ad bills for this show, but this writer will borrow those words because it sums up to what the show was really about!)

The three ladies performing in question were as listed in alphabetical order, L. Aviva Diamond, Kathryn Hopkins, and Karen Celeste Kruz. These vocalists did what the notices states. They all shared the imitate stage setting signing something old (“classic”), something new, (“original”) as well as the borrowed and blue monikers. The “blue” used here was more of a bluesy tone, rather that sadness or the color. Nothing heard was really sad, while blue is the color that represents cleanness, and being clean is a good!

These three do work as a team as that can present tunes via the three part harmony setting, yet they do host themselves as soloists. Although all three hail from this region, Kathryn Hopkins originates from New Zealand, part of the “down under” that piece of the world is usually referred as. Her native accent she holds just enhances her singing voice, presenting the fine jazz numbers that had indeed held through the test of time.

Backing up these ladies was a five piece band, featuring Nolan Shaheed on trumpet, Rich Eames on the keyboards, Gabe Davis on bass, Al Garcia on guitar, and Kevin Winard on percussion.

This small yet mighty concert is part of a series of musical sessions called Saturday Night Jazz DTLA, where for a number of Saturday nights along with a few isolated Friday night gigs, one can hear a selection of jazz musical artists and vocalists, with a little blues and R&B added for measure.

The shows take place at Bar Fedora, located within the Au Lac restaurant, 710 West 1st Street (at Hope Street), downtown Los Angeles, right along the shadow of the Dorothy Chandler Pavilion and the Walt Disney Concert Hall. For more information on the Saturday Night Jazz DTLA series as well as ticket reservations, visit
http://www.SaturdayNightJazzDTLA.com
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

Details@AccessiblyLiveOffLine.com
AccessiblyLiveOffLine@gmail.com
Details@LinearCycleProductions.com
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#AccessiblyLiveOffLine

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ACCESSIBLY LIVE OFF-LINE (C) 2017 Linear Cycle Productions. All rights reserved. The views and opinions are those of the writers, and not necessarily of the staff and management. ‘Nuff said!

THE EVER CHANGING FACE OF MEDIA

It’s been going on for many years, a lot longer that people have realized. But media, be it as print or electronic, is undergoing yet another phase of its long(er) life and times.

Perhaps the most obvious change is the difference between online based media and so-called traditional stock. The latter (traditional) means the form of media that’s been around for generations, if not “forever”. The former (online), referrers to anything that associates itself via a wired or wireless connection that is linked to anything that is called the internet.

First, let’s go to the traditional elements: newspapers, radio, and television. Newspapers, of simply, “the news”, is perhaps the oldest of the three. Newspapers in this nation, as well as in other industrial based communities, has been the prime method to deliver the news of importance. Depending on the newspaper in question, one can find out what’s going on based on the topics the paper covers, as well as its community where the newspaper is based. The news can be important or trivial. Many smaller towns that had newspapers featured “community news” that gave reports of local events from city council meetings to the reports filed by local clubs and organizations. (Much of the featured articles that appeared in one local paper published in Los Angeles, once called “The Van Nuys Daily News” featured said stories filed from such groups as the local woman’s clubs and fraternal groups as The Lions, The Rotary, and related organizations well into the 1970’s!)

Radio came around the 1920’s that offered news and entertainment. It took a while for radio to catch on since radio receivers were rather pricey for what they were. When the great depression hit, it became a choice for entertainment since radio prices dropped a bit and the radio signals were available for free! It was also the prime source for news during the days of World War II as that war made radio a prime leader in broadcasting news. Newspapers, at first thought that their business would be killed by radio since this medium could offer faster and timely news and information. However, newspapers still continued to thrive.

After the war, television stepped in to become the next choice, taking one major advantage of radio. If offered pictures while radio didn’t! Although TV did catch on right away, many folks didn’t necessarily get a set because of price as well as the lack of receiving local TV signals. The three broadcasting networks saw an opportunity in television, slowly phasing out entertainment radio programs throughout the 1950’s. However, radio continued to thrive but into a different format calling for news, more music, as well as entertaining talk and discussion. Newspapers still hung around as well!

The biggest and perhaps most profound change in when the internet started to creep into the 1990’s. Many newspapers and print magazines began their websites in the during this period. However, the only way to receive such stuff online back then was to get access to a computer with an internet connection. If one didn’t have one or the other at their home, there was the public library or an internet cafe-a public place that one can sit in front of a connected computer. However, libraries offered limited time for patrons to use their machine, and internet cafes rented their time by the hour or half hour. By the turn of the 21st century, subscribing to an internet service at home became cheaper and more practical. (Ditto for getting those computer machines!) Did radio, TV, and newspapers feel the crunch by this new competition? Eventually, they did!

In today’s media landscape, newspapers are either throwing their emphasis through their websites and through their spots on social media. Many newspapers and magazines that were once print sources are now online only, such as “The Seattle Post Intellenger”, “The Christian Science Monitor”, and soon, “The Village Voice”, among many other titles. Radio has seen some changes as well. CBS is the last traditional broadcasting source that held out in radio, although they are in the process of selling off their stations and network. (NBC sold its network and stations in the late 1980’s, and ABC sold off its radio portion in the middle 2000’s.) Television is giving away to streaming sources such as Amazon, Hulu, and the biggest one of ‘em all, Netflix, allowing subscribers to view content whenever they want and how much at a time, without those pesky commercials, too! Many of the cable channels in addition to “the big four” offers streaming service as well, either for a monthly fee (no commercials), or for free. (Advertising supported, meaning commercials included!) However, the best part is the fact that one can get access to these programs with any device that connects to the ‘net and sports a video screen! So if you want to binge an entire season of The Handmaid’s Tale on their smartphone, then so be it!

We here at Accessibly Live Off-Line has also felt the change. We stopped our print service many years ago, and on October 1st, we announced to our e-mail subscribers that we will discontinue the e-mail delivery service with its final e-mail edition as issue Vol. 22-No. 51. But don’t worry folks! Accessibly Live Off-Line will still remain online at http//www.AccessiblyLiveOffLine.com. Again, we are just going with the flow!

Time and tide will tell what will become the next big media based thing! It’s somewhat hard to tell what this media may be, allowing other forms to place its virtual head on the chopping block. Just as long as the ideas flow, so will its next element ready to take over! However, as its been said for many a time, stay tuned!
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NEWS AND REVIEWS
Performing at West Hollywood’s The Other Space at the Actors Company is Shirley Lauro’s THE RADIANT, a biographical story of Marie Curie, whose knowledge in science and physics lead toward a major discovery in medicine, but not without the consequences she faced while researching those studies.

Nina Salinen portrays Marie Curie née Maria Sklodowska. A woman of Polish decent, she studied physics in Paris, eventually meeting her husband Pierre Curie. The play opens in 1906, right after Pierre’s death due to a tragic accident. Now standing as a widow, Marie, a professor of General Physics at the university where she studied, continues her work in spite of the fact that she is living on a widow’s pension. While working on a scientific research project, she encounters Paul Langevin (Conrad Cecil). Paul himself has a family of his own. Yet the time these two work within the laboratories leads from a professional relationship to more of an intimate venture. This affair continues toward a major scandal within the Parisian community as to a woman of science taking advantage of a fling with a much young man that has a wife and three children, as well as the sexism and xenophobia that was occurring during this era. But Curie’s research and discoveries lead toward her winning a pair of Nobel Prizes, the sole female to ever achieve these accomplishes.

This one-act play is presented on an intimate theater set. Its various sets as designed by Karen Ipock is staged as a seamless cluster, making this program’s visuals and performances very tight. With a cast of four players, featuring Andrea Flowers as Katarina (Marie’s seventeen year old niece), and John Moschitta Jr. (in various roles) in addition to the above noted Nina Salinen and Conrad Cecil, this program in not only entertaining, but very informative and even inspiring. It presents a woman that faced tragic events–some of these episodes were based upon her making, yet her discoveries created a much desired link that continued on to scientific research methods that still holds up to the present day.

Directed by Jane Edwina Seymour, THE RADIANT “radiates” quality theatre. This production is also a fine example of a “big production inside of a small package”. As to the theatre space: It may be a bit hard to find as the theater itself is located off the street facing an alley-type setting. However, the journey to experience this play is well worth the search.

THE RADIANT, presented by Resource Performance Workshop & Stories About Humans, performs at the The Other Space at The Actors Company, 916A North Formosa Avenue, (two blocks south of Santa Monica Blvd. and one block west of La Brea), West Hollywood, until November 19th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday afternoons at 2:00 PM. For ticket reservations, call (323) 960-7712, or via online at http:www.Plays411.com/Radiant
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The Glendale Centre Theatre continues its run with IS HE DEAD?, David Ives’ adaptation of Mark Twain’s story about a failed artist living in Paris who stages his own death for the sake of increasing the value of his own paintings!

Grayson Wittenbarger is Jean-Francious Millet, an artist working in Paris in the middle 19th century. He’s anything but successful and in debt. He is set to marry his fiancee Marie Leroux (Ashlee Abrams). Her father Papa Leroux (Tom Hall) is also deep in debt, owning an amount of francs to the same man Millet is owed to: the villain Bastien Andre (Ted Wells). While in his studio with his two best friends, Agamemnon “Chicago” Buckner (Joshua Evans) and Hans Von “Dutchy” Bismarck (Austin LaCroix), they make an accidental discovery with a potential buyer of one of his works who asks if the artist is dead. The theory goes is once an artist dies, the paintings created by the now deceased artist increases in value. An idea is hacked where Millet fakes his own death, and in disguise, become his “sister”, even donning a poofy french gown and a curly wig. Of course, Millet become praised as a great dead artist, while his “sister” become the fancy of many a man, receiving proposals for marriage. Is Millet better off as a living legion or just better off dead?

This comedy is loaded with slapstick, mistaken identities, and plenty of opportunities to have the lead protagonist dress up in drag! The action and comedy moves in a frantic pace that just gets better as it progresses. The cast of performers that appear in this production that also includes Cheryl Ann Carlson, Cara Newman Ruyle, Barbara Trenn, John David Wallis, and Alex White, keeps up to the comical timing as directed by Todd Nielsen. Such timing never slacks from its opening scene to its climatic conclusion!

Since this is a period comedy, there are the period visuals in the method of Angela Manke’s costuming, and JC Windel’s scenic designs.

This is the first time the GCT presented this play. In fact, Mark Twain (nee Samuel Clemens), wrote the draft to this play in 1898, but was never formally produced. If was found in the early 2000‘s within the holdings of Twain’s manuscript collection at UC Berkeley. David Ives, whose many comic plays include the audience favorite All In The Timing, adapted it for the modern stage. It was well worth the 100 or so year wait as it still remains a forcefull hoot! And what better way to experience this piece is at the CGT in a theatre-in-the-round setting. At 360 degrees, it’s just as funny, no matter what angle it’s seen!

IS HE DEAD?, presented by and performs at the Glendale Centre Theatre. 324 North Orange Street, Glendale, until November 18th Showtimes are Friday, and Saturday evenings at 8:00 PM, with Saturday and Sunday matinees at 3:00 PM.
The GCT will once again present the time-tested Charles Dickens classic, A CHRISTMAS CAROL, running from November 24th through December 24th. For more details on these two productions, call (818) 244-8481, or visit the GCT’s web site at http://www.GlendaleCentreTheatre.com

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THANK YOU FOR YOUR SERVICE (Universal/Dreamworks) stars Miles Teller, Joe Cole, Scott Haze, and Beulah Koale as four servicemen who completed their tour of duty fighting the war in Iraq, returning home to their midwestern community of Topeka, Kansas. Sargent Adam Schumann (Teller) is married with a family, His spouse Saskia (Haley Bennett) is the mother of two young kids. Will Waller (Cole), is another serviceman who survived many a battle being “blown-up” several times while in combat, Tausolo “Solo” Aeiti (Koale) has an injury to his head due to an exploding bomb. Michael Emory (Haze) received a bullet in the head that disabled him to the point where he’s learning how to walk, speak and overall function. And rounding out this group is Amanda Doster (Amy Schumer) whose husband was killed just a few days before his tour of duty was completed. This bunch, now living a civilian life, must face many of the consequences of post-military life that deal with physical and emotional healing, handling government “red tape”, as well as the attempt to remain military strong long after the battles and gunfire has ceased.

Jason Hall, the screenwriter to the 2014 feature film release American Sniper, adapts and directs David Finkel’s book of the same name that examines a set of military personnel who served their nation in war, only to return not so much as heroes, but shadows of their former selves. The feature isn’t so much a traditional war movie where battles are depicted, troops are deployed, and an enemy is targeted (and vice vera). This film is more of a dramatic view of soldiers going through post traumatic stress that affect themselves and those around them. The movie’s basic tone is somber and somewhat depressing where each lead player is losing an inner war than winning an outer one. Such a theme would make a good melodrama set for the smaller (video) screen, but not so much for the big (theatre) setting. In fact, a good number of scenes depicted of people in this movie as staged by cinematographer Roman Vasyanov consist of medium shots and close ups of the characters, a method that is commonly used in TV programs and related productions fit for video consumption. This format to stage shots would give the impression that this movie will hold its shelf life longer existing on electronic media that one that is viewed in a theater type setting.

This feature, as well as the many other titles released within the last quarter of the calendar is geared toward voting members of movie-based awards, and not so much for a general audience such to the blockbuster hits released in the Summer season. Again, there is nothing wrong to target a movie title for a specific audience. However, one should keep in mind why movies are made and why people will still go to the movies as seen in a theatre! (Hint: The answers involve making money and being entertained!)

THANK YOU FOR YOUR SERVICE is rated “R” for war violence, implied sex scenes, and assorted cussing. Now playing in selected theaters nationwide.
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

Details@AccessiblyLiveOffLine.com
AccessiblyLiveOffLine@gmail.com
Details@LinearCycleProductions.com
http://www.AccessiblyLiveOffLine.com
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@AccessiblyLive (Twitter)
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ACCESSIBLY LIVE OFF-LINE (C) 2017 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!

CUTTIN’ THE CORD-AGAIN!!

In what appears to be the never ending battle over TV the way one once knew of it, we have yet another report on a person’s personal quest to find the method to watch the most variety of television programming for the minimal cost, based upon how much one receives for the monthly ticket in order to gain access.

This person that this writer will call “Mr. X” (OK..so we can’t pick more of a creative name, but that’s not the focus of this article) recently received his bill from the local cable company. This company who at one time was owned by a major player in a variety media and is now operated by a firm that only deals with cable and internet services, slapped this person for the prime cost of $118.56 to obtain some 100+ channels of program that the person only watches as the very most, six out of those 100+ channels.

Considering that Mr. X only takes a look (if not only a peek) at those six channels, it wasn’t worth the cost for ponying up over a “C” note to glance at a half dozen places found within televisionland for his information and possibly for entertainment! Mr. X won’t allow this writer to revile what those specific channels are because it may denounce his preferred political viewpoints! At least it has nothing to do with watching porn channels so says Mr. X, considering that there are no porn channels made available those the cable company. That’s why one can find those source on the ‘net!

And since the for noted ‘net is the place to find more channels for less money, that is what Mr. X did. He got one of those TV devices that plug into an internet connection via an ethernet cable and to a high def TV set. For some $35.00 per month, Mr. X can see more video programming he would tolerate, including those news channels that cater to how he stands via right, left, and center on the political scale!

Your humble reporter feels that he isn’t telling you savvy readers anything you didn’t know in the first place, where cable ain’t what it once was, and streaming media is the chose to go or so says the stats! This form of media even has its own name, called “Over The Top” television, or “OTT” in lingo speak. Nowadays, OTT television, or OTT “video”, since this method of moving imagery can be viewed on any electronic device that sports a screen not necessarily limited to a traditional TV device, appears to be the method to use, since it not only can be accessed through a device that one can fit in a pocket, but it’s a whole lot cheaper to get access to! Those prices range from free to around $35.00 per month. The free subscriptions do have a limited selection of choices, but will be advertiser supported–the reason why they are offered for free! The services one pays for has more choices with limited (if any) advertising. Some folks take multiple packages while other will pick one or two to view. Perhaps the “biggie” of them all, Netflix, will give a viewer thousands of titles to peek at for barely $10.00 a month–more choices in terms of movies and their “television” programs that’s their new big draw.

Of course, this same writer isn’t making any endorsements on where to go and how much one should pay as one source isn’t necessarily better than the other since prices do vary, and so are the titles made available. (Visit the programming source’s website for all of the details!) So there are plenty of places to cut that cord, assuming one had a cord to cut in the first place!

That’s it for now! Happy viewing!
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NEWS AND REVIEWS

No reviews this week, but stay tuned for the next edition of ALOL for the
best in the news and reviews of shows that really matters for the moment! See you then!
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

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ACCESSIBLY LIVE OFF-LINE (C) 2017 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!

HELL IN A HAND BASKET

Not too long ago, I was with an associate driving him around town to take care of his number of errands. This person, who I’ll call “Olif” (I changed his name to protect myself from possible lawsuits), presently has a bad foot due to an advanced case of diabetes. He can’t drive himself around, so as a courtesy to him as I knew Olif for some time, I sometimes play taxi driver for him.

During our misadventures going from one unremarkable place to another, Olif tends to engage conversation with me. Sometimes he asks me advice upon getting himself published–he is currently writing a book discussing a physics entry, a topic that this writer knows nothing about, or perhaps something in the news.

One question he asked, or actually, a series of questions, dealt with the conflicts going on in North Korea. He was rather concerned over North Korea’s collection of arsenal, mostly in the form of H-bombs.

Among the many inquires he made to me, he asked be about what if that nation let loose a series of bombs toward Los Angeles. He asked “If a bomb went off in Los Angeles, would my homeowners insurance cover the damage, or would FEMA take care of it?” He also went on over other inquiries that, when finding them in another perspective, would sound like a series of skit ideas performing on Saturday Night Live.

He also went on upon other concerns within this nation, drifting back and forth over the current political regime. Finally, he make a general statement on the shape of things.

“Do you think that the world is finally going to hell in a hand basket?”, he asked me, right before he went upon another semi-topical subject.

I really didn’t know if Olif was serious with his questions, or was he just trying to be funny. Granted, his various errands he wanted to me do for him wasn’t anything remarkable. If fact, it was rather boring and dull! Perhaps he was asking me these questions and stating his concerns just to break the monotony over this nearly forgettable afternoon.

However, the statement he did inquire about that spoke upon–the world going to hell in a hand basket, was the one that had some form of meaning, especially of what’s been going on within the previous weeks.

When anything happens, be it for the good or for the not so good, the news of such can travel as fast as the elements will allow. If the news is good and it’s of importance, such details can make a decent flow. When the news is more of a tragic nature, it tends to move much faster with every little detail reported within seconds of occurrence. And thanks to social media, just about anyone with some tech knowledge, as well as an ever lovin‘ cellphone, can send text messages and capture still and/or moving imagery (i.e. digital photos and videos) ready to be uplinked via any platform that accepts such elements. (Twitter, YouTube, etc.)

In the case of tragic events from the big ones to the trivial occurrences, such information can be sent by anyone and accessed by anyone! And since the notion of news that uses the oft quoted yet unwritten law of “If It Bleeds It Leads” sneers, the bad stuff rises above the good details, no matter how important or trivial the tragic facts may appear.

Since the days when technology became accessible and somewhat affordable, people held the tendency of capturing each and every moment of their lives for all to see. Even when such imagery isn’t available online per se, people can record just about anything and everything they want. There has been countless details on, let’s say, a new birth taking place. Many of those not only make an attempt to capture the actual birth through moving imagery, but will forward the images to those that are within the birther’s domain. And if they want to upload the pictures and/or video somewhere, so be it!

But getting back to the tragic events. When something does occur, such as the episode that took place is Las Vegas recently, imagery of what went on was being uploaded within minutes of the episode with a few pieces of moving imagery going online as live! And these images were not performed by any professional news media. They were created by John and Jane Q. Public with their every present phones in hand, always ready, willing, and able to capture the moment for all to see!

When the recent natural disasters from fires, floods, earthquakes, and unsettled weather patterns occurred, there were news reports coming in at a breakneck pace, mostly from those that were in the area when everything happened. And since all of this bad news were coming in by the second, one may think that society is letting loose and thus, going to hell in a hand basket!

There have been tragic events going on in this nation and the rest of the world since the beginning of time. Depending on the occurrence, the news and information of such episodes traveled in a slower pace. If the tragic episode was localized, such as a house on fire, one would not know about that house fire if they were not in the neighborhood where the fire took place. Thus, such bad news would be shielded. In today’s world, people will report on a house fire to anyone with a electronic device with a screen and an internet connection no matter where they are! (This writer has seen such local tragic events from communities yours truly will never visit, let along knew they existed beforehand!)

So to answer’s Olif’s question if the world is indeed going to hell in an hand basket or any for of carrying device, the answer is “not necessarily”! In spite of all of the bad news, there are many people who do care for one another! There are more of these forms of good souls than the ones that are harmful! However, texts, tweets, and YouTube videos of people of the good are not as amusing as material as, perhaps somebody getting shot! Yes, this sounds a bit macabre, but this is how it appears to be-take it for what it’s worth!

And for those that want to know if your home owners insurance covers h-bomb blasts? See your policy if such “events of a human nature” (or related wording) are indeed covered–assuming that the bomb doesn’t blow up the insurance company to smithereens!
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NEWS AND REVIEWS

Performing at Hollywood’s Stella Adler Theatre is the world premier of DAUGHTERS OF THE KUSH, George W. Corbin’s play that takes place at a legacy Black sorority set within a smaller college in the Midwest that takes as a new pledge, a white woman that would become its first “non-Negro” member.

It’s the start of the 1963 fall semester at Plains University in Iowa. Among the many sororities that exist on campus is Lambda Kappa Nu, a long established Black institution where its sisters (members) are called “Daughters of the Kush”, named for a sect once located in ancient Egypt. Its pledge chair is Claira (Vanoy Burroughs, alternating with Charlotte Williams) who, along with her associate “sisters” Rhonda (Charlotte Evelyn Williams, alternating with Alisa Murray) and Brenda (Dee Dee Stephens), decides upon just who can become a chosen “daughter”. One woman who desires to become a member is Kathy (Hanna Mae Sturges). Unlike past pledges, called “Kandies” that must go through the rituals that the sorority dictates, Kathy is rather unique. She is of the Jewish persuasion, and she’s white. She was adapted by Black parents, and her adoptive mother was once a member of this group. But there is more than the expected liturgicals that make up sorority life. There are the conflicts between the blending of the races as the era faced, as well as the consequences that resulted.

This is a play that deals with some of the trails and tribulations that were occurring during the period in domestic society on the attempts to integrate of the various races, especially those that were Causation (White) and those that were Negro (Black), set within a collage campus. The production focuses upon how an outsider makes an effort to become part of a group whose ethic origins had been suppressed unfairly. Playwright George W. Corbin, himself a member of a historical Black fraternity in his collegiate years, created a work that are toward these points. The director of this production Veronica Thompson, also comes from sorority background. These two blend their collegiate experience in expressing its noteworthy elements where its cast members brings these same expressions on to the performing stage.

Also featured in the production are Mack Miles, Paris Nocole, Brandon Raines, and Conor Sheehan.

DAUGHTERS OF THE KUSH is far from being another play that takes a look upon “greek life” on a college campus. It’s focus set itself upon a stand where being with one’s own kind can be both a blessing and a curse. Integration in its traditional sense would take generations to eventually fall into place. There has been the progression as well as setbacks. But college life differs from so-called “real life”. That difference does hold its own long after pledges become accepted and acknowledged.

DAUGHTERS OF THE KUSH, performs at The Stella Adler Theatre, 6773 Hollywood Blvd. (at Highland), Hollywood, until October 29th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday matinees at 3:00 PM. For ticket reservations, call (213) 908-5032, or via online at https://corbinkush.eventbrite.com
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Returning to the Santa Monica Playhouse is Jerry Meyer’s comedy A LOVE AFFAIR, a tale of the life of a domestic married couple that looks at the ups and downs found within their times, through careers, sex, and all points in between!

The couple in question are Jimmy and Alice Diamond, seen within a nearly forty year time span. The tale opens with the elder Jimmy and Alice (Chris DeCarlo and Evelyn Rudie) packing their goods as they downsize their home. Jimmy became a successful writer of sitcoms, while Alice became a homemaker. The story shifts between the current Alice and Jimmy to their younger selves. Jacob Cooper and Andrea Adnoff play the younger Diamonds as they are first seen on their honeymoon in Acapulco in the early 1950’s. Their lives are later experienced between the past and present as Jimmy starts out as a struggling writer, hoping to make it in the “biz”, as Alice become involved in supporting politicians running for higher office. Throughout the decades, Jimmy and Alice encounter the successes and failures in their lives. Some are good while others fall short, even running very close to disaster, both financial and emotional. In spite of it all, there is one bond they they hold on to within the four decades of their togetherness, and that bond is themselves.

This stage work by Jerry Meyer is a semi-autobiographical tale that mirrors much of the playwright’s own life, with a bit of creative license added for comedy relief. The writing is witty and sharp, much akin to material found in a sitcom. No surprise here, as Jerry has penned many real sitcoms that graced the TV landscape for many decades. (Many of the sitcoms that Jimmy Diamond wrote for appear as thinly disguised titles to actual TV programs that Jerry Meyer created!)

The play’s production values also speaks for the quality of this piece as well! Eric Jon’s lighting set design and video imagery easily morphs between the life and times of Jimmy and Alice from its 1950’s origins to the early 1990’s–the period that this play was first created and presented. Adding to the production aspects are Steve Mayer’s (son of the playwright) musical interludes that are heard between shifts of scenes.

In addition to the cast of four, Rachel Galpher appears in various characters that become part of Jimmy and Alice’s life throughout the junctures and eras they both share.

Directed by Chris Decarlo, A LOVE AFFAIR is a classic tale of a couple that still sets themselves through the good times and the not-so-good periods of their lives. The catch phrase of this program is “Till debt to us part”, meaning it dose speak for many married couples that hold their own personal trails and tribulations. It doesn’t matter what a Mr. and Mrs. (or “Ms.” if one desires) goes through in life as the moral of this story is that love conquers all, even if that love can be written in a script that performs in a 24 minute time span–not counting for the commercial breaks!

A LOVE AFFAIR, presented and performs at The Santa Monica Playhouse, 1211 4th Street (at Wilshire Blvd.), Santa Monica, until November 19th. Showtimes are Saturday nights at 7:30 PM, and Sunday afternoons at 3:30 PM. For more information or for ticket reservations, call (310) 394-9779 ext. 1, or via online at http://www.SantaMonicaPlayhouse.com/A-Love-Affair.html
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

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ACCESSIBLY LIVE OFF-LINE (C) 2017 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!

WHAT’S IN A NAME?

This issue’s date lands on a holiday. In the USA, the second Monday of October has been declared since 1971 as Columbus Day, the day to commentate the moment when Christopher Columbus supposedly discovered the New World that eventually became North America and connected to that, the good ol’ USA.

For many years, school kids in this nation learned about Chris and his antics convincing Queen Isabella of Spain to fund his trip by placing her jewels at a hock shop. The year this episode took place was in 1492. There was even a ditty created to remember this date that went under the effect of “Christopher Columbus set sail on the ocean blue in 1492”. To throw the kids off when they were going to take their history test that contained the question “What year did Christopher Columbus discover America?”, somebody composed “Christopher Columbus sailed the deep blue sea in 1493”. This little catch phrase caught on, giving these poor kids a wrong answer on their test. Of course, this may have been arranged back during the time where commercial jingles were at their peak. Many a kid that was hooked on to media that was at the time limited to radio and TV, knew the lyrics to short and catchy songs that attempted to sell something, everything from kid-friendly products allowing those same kids to wish they were an Oscar Meyer weenier, to products that were anything but kid-friendly! (“Winstons taste good like a cigarette should”, etc.!)

Over time and tide as commercial jingles were no longer as catchy as they used to be, the notion of having a federal holiday that commemorated Chris’s journey to the so-called new world had also lost its luster. There has been notes circulating that Chris’s treatment to the people that were living on the land he discovered were anything but friendly. Also, the notion of Chris being a hero of some sort has also been faded through time. For those that are of Italian decent, his being is felt as a sense of legacy and pride. In many cities that have a strong Italian presence mostly located in the northeast and midwest parts of the country such as New York, Philadelphia, Cleveland, Chicago, and so on, Columbus Day parades are held that pay tribute to the man in question as well as to celebrate the Italian heritage as its focus.

Since the 1990’s when political correctness started to kick in, the notion of changing the name and scope of “Columbus Day” has been a subject that’s been coming and going around. There have been groups that state that the day should reflect upon the native people that existed at the time of Chris’s discovery. Those people were known as “Indians”. This name should not necessarily be confused with the former name of “Indians” now known as “Native Americans”, since at the time of landing (1492), there was no “America” to speak of. However, those of Italian decent state that the day should commemorate the presence of Italians that are part of the melting pot that make up the population of America. Others that are of a different heritage stated that they should receive a day where their background should be recognized that also make up the same melting pot. And the argument continues.

Columbus Day as a whole is one of those federal holidays that don’t receive the same respect as to the other holidays that are on the USA calendar. Unless one lives near or is part of a community that is of Italian heritage, the day isn’t mentioned as much. Here in Los Angeles, there are no Columbus Day parades taking place to speak of. Ditto for any other forms of celebrations outside of “Columbus Day Sales” that some retailers may use to lure customers into their stores and/or their websites. In fact, many people have nearly forgotten about Columbus Day as a whole. The only time they even notice that it’s a holiday is when they find out that banks are closed, no mail delivery takes place (assuming that people still remember mail delivery, but that’s another topic as it stands), and city government may not be doing anything that day! Many businesses don’t close on that day either, not even recognizing that day as a holiday! (When yours truly was once employed at a cable TV company owned by Westinghouse, we had a choose to either take off Columbus Day or the day after Thanksgiving. No prize will be offered to anyone to guess what day everyone picked as their holiday!)

However, it is a holiday in Canada as it’s Thanksgiving Day where the banks are closed, mail delivery stops, and local government isn’t doing anything! However, unlike the American Thanksgiving that falls on the fourth Thursday in November (not necessarily the last Thursday in November) that unofficially kicks off the “Holiday” (formally “Christmas”) shopping season, the folks in Canada uses another backstory to their Thanksgiving. To get the details, one can always look it up! That’s why Google exists, no matter what name you use!
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NEWS AND REVIEWS
Skypilot Theatre opens their theater season with a pair of one-act plays: Sean Abley’s ABSENCE MAKES THE HEART… and Jalisa LeeLee Jackson’s COMB YOUR HAIR (OR YOU’LL LOOK LIKE A SLAVE), each one takes upon a basic subject as told by a variety of characters through a non-linear pattern.

The first play as part of the double bill ABSENCE MAKES THE HEART… speaks for a situation where an up-and-coming ballet dancer is driven to her death by falling in the path of a subway train in the lower bowels of New York. A series of characters confess about this death through their own means. Some knew the late dancer, a few knew of the victim, and others become affected in more of a distant sense as the characters tell their side through monologues and first person accounts.

The second production COMB YOUR HAIR (OR YOU’LL LOOK LIKE A SLAVE) consists of a collection of short skits and formal orations by African American women of various ages and sizes that deal with their hair, expressing notions ranging from fashion statements to personal self dispensation and privilege.

Both of these plays were composed by playwrights based in the Los Angeles area, and each one became a national finalist for the Kennedy Center American College Theatre Festival’s 2017 John Cauble Short Play Award. (These two were finalists out of four!) What makes these plays unique is its method of delivery, carrying these works through its progression of its dialogue, speaking upon its subject matter through self driven monologues addressing the audience. ABSENCE.. uses as its base, the Hans Christian Anderson fable “The Red Shoes”, while COMB.. uses personal experience as its platform, as playwright Jalisa LeeLee Jackson has previous written plays for women and femmes of the African diaspora.

Each production features a separate cast. Featured in ABSENCE are (in order of their appearance), Catherine Davis Cox, Marie-Francoise Theodore, Miss Barbie Q, Maggie Manyan, Ian Stanley, Javier Melgar Santovena, Thomas Colby, Sarah Lilly, Ian Salazar, Andra Nguyen, Kasey Miller, Tony Kim, Natalie Nicole Dressel, Francoise Tiadem, Easton Schirra, Heather Boothby, Kieth Wheeler, Carlyle Coash, Sarah Marcum, and Morris Schorr, performing under the direction of Chrisanne Blankenship-Billings.

COMB features (again, in order of appearance), Shereen Macklin, Miss Barbie Q, Alexa Briana Crimson, Skye Ellis, Carene Rose Mekertichyan, and Mimi Tempestt, performing under the stage direction of Kumi James.

Single act plays are a distinctive breed as they tend to cram as much detail about its plotting and characters as told within a shorter time span. If done correctly, this condensed method of theatre can become a powerful aspect that gets its points across quickly yet throughly. And these two accomplish these elements throughout through timing, dramatic grace, and the notion that it speaks for its subject matter directly to its audience in an intimate setting.

ABSENCE MAKES THE HEART… and COMB YOUR HAIR (OR YOU’LL LOOK LIKE A SLAVE), presented by Skypilot Theatre, performs at the Arena Stage, 1625 North Las Palmas Avenue (one half block south of Hollywood Blvd.), Hollywood, until October 29th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday afternoons at 2:00 PM.
For ticket reservations, order online at http://www.BrownPaperTickets.com/event/3085800.
Visit Skypilot Theatre through social media outlets via Facebook at
http://www.Facebook.com/SkypilotTheatre, and via Twitter @SkypilotTheatre

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A PIECE OF MY HEART, Shirley Lauro’s play that tells the unique stories of a group of six women who served their time during the battle of Viet Nam, performs at The Charles Stewart Howard Playhouse in Woodland Hills.

In 1969, six women that originated from different backgrounds and backdrops became aware of the current war the nation was in conflict with. The women were Martha (Janet Lee), Sissy (Tuesday Grant), Whitney (Sarai Jimenez), Leann (Kaleen Ugai), Steel (Markietha Ka ‘Von) and MaryJo (Mackayla Hill). Steel served in the Woman’s Army Corp (WAC). The others were registered nurses, while one was a member of a small country & western group, hired through her group’s manager to perform in touring USO shows. Although they would not fight in battle (females were restricted to perform in combat at the time), they would eventually become part of the military action. However, most of these women were rather young. With only a high school education, they trusted their recruiters that serving in a military war front would be limited to the base, far away from any battlegrounds. However, this would not be the case. Dealing with military protocol while mingling with the servicemen with care, (sexual relations were against military rules), along with the exposures of the horrors of war and its aftermaths, these women performed to the best in not only serving their nation, but to come to the physical and emotional aide of these “fighting boys”. Upon their discharge, the battles continue. This time, it’s a reaction between the disrespect by war protesters, post-traumatic stress, and the effects to chemical exposure–elements they would take upon themselves for many years after long after the guns turned silent.

This play shows the causes and effects of war that were based upon an act of patriotic duties as told through the perspectives of these women, presented by a series of linear scenes and monologues. The mood changes from promising and upbeat (what did these women know what they would get themselves into?), to horrific (serving within a war zone would lead toward exposure to horrific injury and death), leading to their post-war inner and outer personal conflicts, finally settling to a recognition of respect of duty long after the fact. The cast of the six female leads featured in this presentation perform in a harmonious fashion, keeping up to the momentum that the play expresses. Marshelle Giggles-Mills directs this program that doesn’t take sides, but showcases an honest truth.

Also appearing within this production are Paulina Logan, Caitlyn Rose Massey, Chris Clonts, Bradley Sharper, Nancy Woods, Jaime Dorsch, and Silky Eugenia Bell.

The title A PIECE OF MY HEART, suggest that these women wanted to offer a “piece of their heart” in serving for the good of their nation and for humanity as a whole. Although it would take a generation to finally obtain the respect they well deserved, they did receive their own memorial wall in Washington DC, a little over ten years after the original Vietnam War Memorial wall was erected. In today’s landscape, anyone who does their part for humanity, be it for a military situation, a civilian based confrontation, or anyone that “rallies around the flag” toward the aid of others deserves their place in the limelight within their own right. The human spirit does exist today, no matter how popular (or not-so-popular) the cause calls for!

A PIECE OF MY HEART, is presented at the Charles Stewart Howard Playhouse (Harter Hall) on the campus of Woodland Hills Community Church, 21335 Dumetz Road (at Canoga Blvd.)Woodland Hills. Performances take place on Saturday and Sunday, October 14th and 15th at 7:00 PM. Ticket reservations can be obtained via online at http://pomh.brownpapertickets.com/
Visit the CSH Theatre through social media at https://www.facebook.com/WHCTheatre/

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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

Details@AccessiblyLiveOffLine.com
AccessiblyLiveOffLine@gmail.com
Details@LinearCycleProductions.com
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#AccessiblyLiveOffLine

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ACCESSIBLY LIVE OFF-LINE (C) 2017 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!

WHO WATCHES THIS STUFF?

Since the Labor Day weekend, this humble writer has been receiving a number of e-mail messages from public relations companies informing me about a new film that is going to be opening within the upcoming days or weeks. These movies (and I am using the term “movies” are most of these titles will be released in a traditional theatrical distribution system), appear to be selections that are either of a melodramatic nature, hipper and perhaps “smarter” comedies, or are documentaries that deal with subjects of importance ranging from human trafficking to political strife here in this country and other nations abroad. These same features are being released or distributed by smaller independent companies that are separate from the standard Hollywood studios. If the company is connected to a bigger studio such as Sony Classic Pictures witch is linked to Sony Studios aka Columbia Pictures, then the distribution firm deals with so-called “independent” films or are one that are of an “art house” nature.

Anyway, this humble writer has been receiving notices that these titles will be released into theaters. And unlike traditional features where their opening means a massive amount of movie screens will screen this movie at the same time (say, 2000 screens plus), these titles will open in just a handful of places, even as little that one sole theatre, usually found in New York City and/or Los Angeles.

Now, why you may ask (assuming that you readers even care), on why is this writer getting all of these press releases about these movies that feature a heavy story line with a cast of performers that are far from being “box office” material, or are documentaries are were created to speak about an issue or issues of importance?

First or all, yours truly is a member of a film critics trade group whose same members write about newer movies, and these notices are being sent for general awareness. In addition, these notices are also being sent in connection to their release dates as it’s coming closer to the end of the calendar year–the deadline when movies can be eligible to become nominated to win awards, from the citations given by the trade groups (Director’s Guild, Writer’s Guild, Art Director’s Guild, etc.) to the holy grail of them all, being able to win an Oscar or two!

That’s all fine and good for what that stands for. However, upon seeing what films are coming through the pipeline of late, this writer sometime have to ask one question. What demographic are these movies being addressed to? The movies that were released during the summer season that ranges from late April-early May to the end of August, tend to be bigger titles that are either an action/adventure genre with a lean toward comic book super hero types, all-ages animation, or other similar titles that are big on star power and are overladen with special effects! And that market that desire those type of movies are steered toward a younger group, usually the under the 30 year old set. Even through this age group is perhaps the most wired of the bunch, they are still willing to plunk down $10.00 and up to see these movies in a traditional theatre setting even though these same folks can see these same movies on any electronic device that sports a video screen. The method they may use may not be legal by any means, but it can be done nevertheless!

So who are these smaller movies geared toward? From what it appears to be, the demographics are of folks of a certain age that grew up on the notion to see movies in a movie theatre and are not based upon comic book characters or are animated titles more appealing toward kids! That demographic are those over the age of 55, better known as the ever lovin’ “Baby Boomers”. This same demographic are also members of those for noted trade groups that hold the voting privilege to choose a film to win some kind of award.

Or course, there is noting wrong for movies that might be favorites to the more seasoned groups. These folks are just as willing to watch films that are not viewed on a screen device and pay for the privilege. However, the younger set are just as willing to watch movies in a movie house as well. Those films just make more money that a “art” movie can churn out.

Recently, the AARP, that writes about movies geared toward their demographic calling their musings Movies for Grownups, made a comment over the movies released during the summer of ’17. They stated that out of the film titles that made the most in domestic gross, the top five, Wonder Woman, Guardians of the Galaxy Vol. 2, Spider-Man: Homecoming, Despicable Me 3 and Dunkirk, only one was an original title, the Warner Bros. release of Dunkirk, a movie that takes place in the early days of World War II. The AARP also noted that unlike the big summer hits ruling the way, there were a few disappointments, such as The Mummy, Alien: Covenant, Baywatch and Pirates of the Caribbean: Dead Men Tell No Tales. Those same studios should not overlook the more mature potential moviegoers that will still see a movie that isn’t viewed through their phones!

But in spite of all of this notion of what movies are for who, this is all based upon simple business principals. The reason why movies are made is to make money. The reason why people want to see movies is to be entertained. If a studio makes a movie that is indeed entertaining, people will plunk down admission to see these films and thus, will generate movie for all involved. It’s the basic case of supply and demand!

It’s going to be rather hard to tell if these so-called award grabbing films will make money as that is generally up to the movie goers who pay to view these movies, and the titles that the studios will make available. Some will indeed make an amount that is of blockbuster quality, while others will be praised by the industry to be declared as the best films ever!

Again, just as long as the movie is worth one’s time and it’s entertaining for what it is, then you have an appealing film to deal with! But keep in mind that video content is just about anywhere and everywhere wherever and whenever the user wants it! Movie houses for what they are, still holds its appeal. With admission prices for what they are, as well as the audience that sit in the same room to where the film is showing, these movies better be worth one’s 100 or so minutes! Super hero action pictures can be amusing too, y’know!
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NEWS AND REVIEWS
The Victory Theatre presents the world premier of RESOLVING HEDDA, Jon Klein’s comical farce that serves as a soft-of sequel to Henrick Ibson’s classic play Hedda Garber where the title character makes an effort to change the plot of her play in order for her to not kill herself as she eventually did.

The setting is the same living room where all of Hedda Garber’s play takes place, located within the stylish home of Hedda (Kimberly Alexander) and her husband George (Ben Atkinson). Hedda, now living within an early 21st century mindset, is hell bent on keeping her character alive by making no effort of shooting herself with a pistol as she did in the original play. The regular cast of characters are present, such as the well meaning Aunt Julia (Alyce Heath), Judge Brack (Tom Ormeny) who still takes a shine towards Hedda, Thea (Marisa Van Den Borre), a childhood pal of Hedda’s whose current married life is still miserable, and Eilert (Chad Coe), Hedda’s one time lover. Each character still keeps in character as they appeared in the original source. Now Hedda is in charge, making every effort to damage the original concept of a play that’s still a function of stage theatre study, as well as part of a repertory of plays still performed on theater floorboards somewhere in the world!

This “new” version of a classic work moves in a very rapid place, full of comical hijinks, witty one-liners, and plenty of buffoonery that waters down upon the concept and seriousness that Ibson’s masterpiece (one of many?) tries to get across. Kimberly Alexander as Hedda is now a very strong minded woman of the post-modern age who is as cocky as she could get away with. The rest of the characters make their attempt to catch up with Hedda, still somewhat stuck in the latter 19th century. However, they are still within their same methods as they are (were?) when Ibson first placed his pen on paper to write his piece! However, Ibson’s didn’t know where to place the funnier lines, so Jon Klein did his part in making this play a laugh fest!

Maria Gobetti, co-artistic director of The Victory Theatre, directs this show with humor, comic pathos, and overall, proves that a quintessential play can indeed become a “laff riot” in spite of the fact that the Ibson version is heavy in plotting, yet can be rather dull for contemporary audiences.

Beside the cast of players that appear in this production that also features Sean Spencer as a stagehand (a character not found in the original Ibson work), is Evan Bartoletti’s set design of Hedda’s living room space, loaded with period furnishing that reminds the audience that it’s still the late 19th century! The same goes for A. Jeffrey Schoenberg’s costuming. Both entries make this show a feast for the eyes that adds to the fun and mirth as depicted and spoken by the cast of seven.

RESOLVING HEDDA is a fun screwball type of a comedy. It’s only caveat? Unless one is familiar to the oft-noted Hedda Garber play, the characters presented and their backgrounds can be slightly confusing to follow! However, because it’s too funny and amusing, those lost elements are quickly forgotten! Henrick Ibson’s estate might like this show as well, but can’t do a damn thing about anything since all of Ibson’s works are in the public domain!

PS..does Hedda keep herself alive as she desires? This writer placed enough spoiler alerts toward the original source, and we’ll leave it at that!

RESOLVING HEDDA, presented by the Victory Theatre Bare Bones Ensemble, and performs at The Victory Theatre (Mainstage), 3324 West Victory Blvd. (one block east of Hollywood Way), Burbank, until November 12th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday afternoons at 4:00 PM. For ticket reservations or for more information, call (818) 841-5421, or via online at http://www.TheVictoryTheatreCenter.org
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The Impro Theatre opens their 2017-18 season taking selected residency at Santa Monica’s Broad Stage’s Edye Second Space Theater.

For once a month through June, The Impro Theatre company, specializing in creating shows based upon various forms of literary works ranging from the classics, 20th century authors/playwrights, and from the media, develops a brand new full-length play based upon the genre highlighted improvised right on the spot! By working with a suggestion or two taken from the audience, a set of performers creates a work in the style and fashion of the subject matter only using their wits and wisdom that matches the genre in near perfect timing and style, not knowing what they are going to do next! Since these shows are made up right in front of the audience, their creation will be seen once and never again! Every performance serves as both opening and closing night–or day, depending on the time of performance! Its result is a presentation that is witty, amazing, perhaps deep and moody, and in short, a show birthed right on the stage!

The series opened at the end of September with Sondheim Unscripted, that performed a musical work resembling a creation by Steven Sondheim. A team of six rotating players, consisting of a combination of Kelly Holden Bashar, Kari Coleman, Lisa Fredrichson, Brian Michael Jones, Stephen Kearin, Brian Lohmann, Edi Patterson, Ryan Smith, Michele Spears, and Floyd VanBuskirk, presented a musical that features much of the style and persona that one would find in a standard Sondheim musical. These team of players knew their stuff pretty well as they were able to pull off a production that was born by its opening number, and died once the virtual curtain closed the show forever!

Dan O’Conner, artistic director of Imrpo Theatre, co-directed with Michele Spears a piece that’s funny, charming, warm in mood, and perhaps the most important stance of them all, a show that didn’t previously exist! And since this was a musical, Peter Smith alternating with Matthew Loren Cohen, performed the musical score on the keyboards.

For the rest of the season, the Impro Theatre will host another presentation using a different genre and format. The weekend of October 27th-29th will be Horror Unscripted taking its inspiration from a 1980’s-era horror “B-movie”. November 10th-12th will be L.A. Noir Unscripted featuring back-alley characters from the gutters of 1940‘s and 50‘s Los Angeles. Jane Austen Unscripted takes place December 15-17th using the methods employed by this early 19th century author. February offers two separate shows: Fairytales Unscripted on February 3rd suitable for the entire family, and Chekhov Unscripted February 23rd-25th for the adults. Submitted for your approval, Twilight Zone Unscripted returns on March 16th-18th. April 20th-22nd will host Shakespeare Unscripted, featuring a classic as sort-of written by The Bard. Dorothy Parker Unscripted performs May 18th-20th inspired from the musings of The Algonquin Round Table (or not). And rounding out the season will be Tennessee Williams Unscripted June 15th-17th, highlighting those characters direct from the hot and steamy (and whiskey and gin soaked) confederate states!

The Broad Stage is located at 1310 11th Street (at Santa Monica Blvd.) in Santa Monica. For further details on all Impro Theatre shows performing at The Broad Stage, visit the official website for ticket information and for specific showtimes at http://www.TheBroadStage.com.

For more information on Impro Theatre, visit http://www.ImproTheatre.com
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ACCESSIBLY LIVE OFF-LINE (C) 2017 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!