Turning the age of eighteen means a lot of things to a lot of folks. It’s an age that can be considered a right of passage where one enters a new era of note. This magic number (so to speak) is connected with such ages as thirteen-the age where a kid that follows Jewish traditions holds their Bar Mitzvah/Bat Mitzvah to become a “man” or “woman”; fifteen-the “coming out” age for a girl of Hispanic origin; sixteen-the “coming out” age for a girl that isn’t Hispanic, as well as the same age where one can obtain a driver’s license. Eighteen is the age where in all communities, one is considered to be an adult, taking on the expected responsibilities that come with being “grown up”! (There is another age, twenty-one, where one can legally drink, but that’s another story!)
This issue marks the eighteenth anniversary when Accessibly Live Off-Line first came into the scene as a print only service. Back in the middle 1990’s, the internet and all of its applications were then considered as novelties. People were gawking at what existing web sites that were around just to see what was posted on them. Electronic mail a.k.a. “e-mail” was used mostly by businesses and well as a few individuals that were able to have internet access at home, connected to a modem that dialed a local phone number to connect to the world wide web at about 14,000 kb. This speed was fine for receiving text messages, but web sites were very slow to download. Using print to create those early issues of ALOL made more sense, since a lot of text, along with photos, graphics, and other means of print expression, can be created and delivered with clarity, ease, and with full access.
Of course, a lot has happened over the nearly two decades since this little humble news service first got its act together. When Vol. 1-No. 1 was written, it was created on a Mac Plus machine using a ClarisWorks word processing program. It was printed on an HP printer (its original model number has since been long forgotten) and sent to around thirty of so parties through standard mail that expressed interested in receiving a copy. We invited those handful of subscribers to express their comments on ALOL by sending a letter through the mail, or by way of our e-mail address. It wasn’t until our third issue when we received our first reply by e-mail. Sadly, that e-mail was never saved–just like e-mails of today–but the person who wrote back asked when will a specific review of a play that was attended by yours truly will ever be printed. Sadly again, that review was never published because it was never written! (Perhaps we never got around to it!) So much for great moments in journalism!
When we reached our one year mark in 1997, it was very doubtful that we would ever make it through that year. Only about twenty issues were created in our first full calendar year. Some issues were a little as two pages long, while a few exceeded beyond three. However, we did make it to the end of ‘97, still replying upon print to get our messages across to the masses!
Although eighteen is considered as “young” when one is a human being, it’s considered as “old” to such devices as cars, electronics, and related gadgets that tends to change every so many years. (Does anyone out there still use the same TV set they had in ‘96? Anyone out there drive a car created in that same year?) You get the idea!
In spite of this time of life, since we are now adults, it would be expected to act like one. But in our case, this won’t necessarily apply! Why? Because many adults out there, mostly those way beyond the age of eighteen, don’t tend to behave that way! Call this the “kid at heart” syndrome where grown ups act like kids, while the real kids (especially “tweeners”) start acting like adults while playing with adult toys. (Smartphones and the like!)
Nevertheless, as we enter our 19th season, we, as always, will bring to you the news and reviews that really matters! We may not be the first to do this, and we won’t become the last, but we are still out there to provide you this time tested service! After all, we ain’t a kid anymore, y’know!
The Glendale Centre Theatre kicks off their 2014 season of plays and musicals with the return of Joe Dipertro’s OVER THE RIVER AND THROUGH THE WOODS, a comedy of a multigenerational household that lives, loves, bickers, and eats!
Taking place at the Gianelli home located in a humble neighborhood of Hoboken, New Jersey not too many years ago, Nick Cristano (Tommy Kearney), a man nearing thirty, comes from a family whose Italian roots extend generations. Luckily for him, some of these generations are still within his reach as they all live within the same household. Although his parents live in sunny south Florida, his two sets of grandparents from both sides of the family still reside nearby. There’s his grandparents on his dad’s side Nunzio and Emma
(Richard Large and Elaine Rose) and his grandfolks from his mother’s clan Frank and Aida (Peter Renaday and Helen Siff). Every Sunday, Nick stops over for a hearty Sunday dinner. However, he makes an attempt to bring some news to his elder folks. He was given a job promotion that will take him far from his native New York. It’s a dream job that Nick desires. But this news doesn’t bode too well with the elder set. So the grandfolks attempt to develop a scheme of keeping Nick home, even offering to fix their unmarried grandson with a young woman from the neighborhood, Caitlyn O’Hare (Christa Hamilton), who in turn, they hope this pair will fall in love, get married, and present a great grandchild! It’s a comical tale of a family that still ties the binds, even if those binds tend to get a bit unraveled!
This is one of the little plays that tend to get better in each presentation. The GCT hosted this play a few years before. (See review Vol. 11-No. 15) In turn, all it did was just get better! The team of six players that appear in this piece hold that humorous, yet lovable persona to the roles they portray. Tommy Kearney as Nick is the good loving spirit that keeps his wits together even though he’s just another victim of amusing circumstance. The set of four grandparents as played by Richard Large, Elaine Rose, Peter Renaday and Helen Siff, interpret their characters as the type that can be your grandparents–or the type that one wises that they were yours to call your own! And rounding out the cast, Christa Hamilton as Cailyn is just as sweet and alluring. If her character becomes Nick’s love of his life, this writer won’t state such since that would a spoiler! But this same reviewer will note that Martin Lang directs this production that will please all, not matter what stage in life one resides in–from adult child to grandparent!
As to the technical side of things, Nathan J. Milisavljevich’s set design shows a comfortable living room emplace that one would find in a legacy homestead within the wilds of middle class Jersey–or any place where families have resided in what seems to be a near forever!
As noted many times within this news service, the GCT is the location where one can still find family friendly plays and musicals where it’s appropriate for all audiences to savor. Although there is nothing wrong with “edgy” theater works, (and this reviewer respects ‘em all), but when it comes to those that shows off the lighter side of the theater stage, this spot located in Glendale is the place to be!

     OVER THE RIVER AND THROUGH THE WOODS, presented by and performs at The Glendale Centre Theatre, 324 North Orange Street, Glendale, until February 8th. Showtimes are Thursday, Friday, and Saturday evenings at 8:00 PM, with Saturday  and Sunday matinees at 3:00 PM.    
     For reservations or information, call (818) 244-8481, or visit the web site at http://www.GlendaleCentreTheatre.com
Richard Greenberg’s TAKE ME OUT, a drama about a star player in a pro baseball team whose lifestyle preference causes a number of rifts among its team members, including an emerging star among its bunch, opens at the Flight Theatre located in Hollywood’s Theatre Row district.
The major league Empires has been performing well within its division, thanks to the ball playing talents of hot shot performer Darren Lemming, who is of a mixed race, although he states he’s more African American that he’s white. But his race isn’t what makes him unique among his teammates. When Darren makes a statement to the press that he’s gay, it would be assumed that his lifestyle status off the playing field would be accepted by his fellow team members. Although some do take this sexual preference for what it is, a few think otherwise, including Shane Mungitt, a fellow star picture that hails from the backwaters of the southern region whose playing is far superior than his general intelligence. The two eventually clash, leading toward consequences that are far beyond a few foul balls and a missed base.
This theater piece, winner of the 2003 Tony Award for best play, tells a saga about a man’s “coming out” and how its accepted among his peers in a postmodern society, especially within a “macho” line of work called professional baseball. Although ten or so years have passed since this work first came out (no pun intended), not too much has changed over the real acceptance among professional player’s attitudes toward fellow teammates over who’s in and who’s “out”, as well as to what’s spoken on in public verses to what’s thought behind the backs of the media (electronic, social, or otherwise), taking upon a different meaning of teamwork. This is why this play still rings true in these times, making the game a platform where players takes their stances upon how they perform on the field and what’s taken for off the diamond.
Appearing in the cast are (listed in their alphabetical order), Barry Brisco, Kyle Colton, Will Bethencourt, Takumi Bansho, Christian Harris, Hayden Lam, Oscar Pena, Brian Perras, Edwin Rush, Richard Sabine, Gustaf Saige, Peter Stoia, Justin Teitell, and PJ Waggaman.
Emanuel Lewis directs this production, making this a hard hitting drama suitable for an adult audience. (There are a few light touches in this play, keeping its dramatic themes on course!) Outside of its basic motifs and the use of harsh language, there is full frontal nudity depicted in this presentation.
TAKE ME OUT isn’t just another dramatic work about the world of professional sports. It’s a study on how this closed society of pro players functions among the company of what’s commonplace outside of this realm. It covers all the bases that makes this production a hit. (This time pun intended!) Although the Flight Theatre stage is rather small and intimate (the better to appreciate the performances seen on the floorboards), the issue spoken about is far bigger. Spring training may still be a month or so off, so this is the exceeding time to honor those boys of summer, even if this honor takes upon a whole other intention.

     TAKE ME OUT, presented by Plus One Productions, perform at the Flight Theatre, upstairs at The Complex, 6476 Santa Monica Blvd. (at Wilcox), Hollywood, until February 2nd. Showtimes are Thursday, Friday, and Saturday nights at 8:00 PM, and Sunday evenings (January 12th & 19th) at 7:00 PM. Special Sunday matinee performance on January 26th at 3:00 PM, and late Sunday night performance (post Super Bowl) on February 2nd at 8:30 PM. For ticket reservations, call (424) 333-2117, or via online at http://www.BrownPaperTickets.com/event/532655
According to report filed by Torrentfreak.com, a website (among many others) where one can download audio, video, and software applications for free a.k.a. “pirated”, the top ten TV show titles that were downloaded in 2013 are as follows. The list includes the title of the show, its network, the estimated number of downloads, and the estimated number of total domestic viewership:

1. Game of Thrones: (HBO) 5.9 million downloads; 5.5 million viewers
2. Breaking Bad: (AMC) 4.2 million downloads; 10.3 million viewers
3. The Walking Dead: (AMC) 3.6 million downloads; 16.1 million viewers
4. The Big Bang Theory: (CBS) 3.4 million downloads, 20.4 million viewers
5. Dexter: (Showtime) 3.1 million downloads, 2.8 million viewers
6. How I Met Your Mother: (CBS) 3.0 million downloads, 9.4 million viewers
7. Suits: (USA) 2.6 million downloads, 3.5 million viewers
8. Homeland: (Showtime) 2.40 million downloads, 2.38 million viewers
9. Vikings:(History)  2.3 million downloads, 6.0 million viewers
10. Arrow: (CW) 2.2 million downloads, 3.2 million viewers

For what its worth, this is proof that one no longer needs a traditional television receiver to view TV shows, as all of these downloads came from any internet connected device. (Eds.)
(As posted on her Facebook “wall”)
Darn jobs!  I am trying to get all my stuff done before I leave for the next week and a half but not being so successful – I want a nap!

My backyard is a skating rink already….John hasn’t yet made it to Fulton. Mo-X abandoned him and his luggage at the airport. He had to rent a car to get home. They refused to wait.

I got the job! I GOT THE JOB! YAY!!!!!!!!

Watching Hobbit #1 with hubs & boys. Love Bilbo. But giggling over HOBBITSES!!! Youngest calling dog “Precious” instead of Peaches tho…i do not like it!!! Lol

Now just where did I put that doggone flashlight?
As of January 6th, Tiffi has 1,983 Fabebook “friends” and counting!
is a presentation of Linear Cycle Productions

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ACCESSIBLY LIVE OFF-LINE (C) 2014 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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