As with previous seasons, there has been a load of events that took place within our news service inside of the previous year, and this report will touch upon a few of those episodes.
As our readers may know, we are now within the first week of our new 2014-15 fiscal year. Our annual issue, usually released within the first week of July, recaps a selection of noteworthy aspects that’s been encountered since the previous report. Some of these improvements have been covered in previous editions, while a few hasn’t been expressed until now. We doesn’t want this review to read like a company’s annual report to stockholders, since those type of articles are written by an army of accountants, attorneys, and other bean counters that just so happen to be part of the corporation’s payroll. That’s all good if one is dealing with a boatload of stockholders, multitudes of partners (business or otherwise), or an entire army of “executive producers” that isn’t really known just what they do in order to become an executive producer, but are just listed on the credits in order to impress the audience its serves. This is a basic report written by yours truly addressed to you, the fair readers of this very news service.
Accessibly Live Off-Line has been around for some eighteen and a half years. If ALOL was a person rather than a news service, we would technically be an adult taking so-called adult responsibilities found in this domestic life, everything from buying a house (a real big issue, assuming one has the finances to perform such), to seeing “R” and “NC-17” movies in a theater without the supervision of a guardian! (Not so much of an issue anymore, but at least the option is there!) However, we would not be able to legally consume alcohol. (Not so much of a big deal either, but we’re getting beside of ourselves!)
But before we begin the business side to our report, we first and foremost wish to give a “shout out” to many of the people and departments we have worked with through the past twelve months. Space won’t allow us to print specific names, but we do send our regards to many of the publicists and press people that handle many of the visual entities we write and review upon. These people have been very helpful in allowing us to get the word out toward their productions and programs. We couldn’t have done it all without you folks!
We also wish to thank all or our readers and subscribers as well. We presently have a minimum of 5000 verified names and contacts that receive this news service each and every week. Although most of you have joined us while we were rolling, there are a small handful that’s been around since our very first edition released back in the day when the device called the “internet” was something out of science fiction, placed there for those that that wanted to do things electronically in spite of what the nay sayers stated! (One of our dedicated subscribers had as many as nine different e-mail addressees through the last eighteen years!) We do tip out hat in your direction as well!
Now that the slapping of the virtual backs and the invisible high fives are all said and done, let’s get on with our report.
We are pleased to report that our circulation has gone up since the start of the previous fiscal year. Within our last and latest audit report, we have witnessed an increase that’s been growing at around five percent as of April 1st-the latest date available as of press time. With our increase of presence via social media, more people are becoming aware of our service. We send “tweets” every week via @ACCESSIBLYLIVE, and our Facebook presence consists of a number of dedicated people who represent our “friends”, many of these are professionals within the fields of multimedia. (All “likes” are also organizations and groups that we hold professional connection with.) And after receiving a number of requests and inquiries from subscribers, we have gotten our YouTube channel up and running, showing segments linked to our “parent” production Accessibly Live, a talk program that aired in the late 1980s and early 1990s. Visit us there at https://www.youtube.com/channel/UCEHxSllfDItpWh3z8vuUb_w
As to the editorial side of things, we will continue to present what we have been doing for all of these times by providing news and reviews of regional and community theater, feature films, television and book titles, as well as other notions that would be of interest to our subscribers. These elements have been the heart and soul of ALOL, and since all of these notions work quite fine, we ain’t gonna fix ‘em ‘cuz they ain’t broke!
Of course, we will present updates of any other news and related details about ALOL over the next few months, so our job is far from over. It’s not like it was back in the so-called good old days when one had to wait until the next issue rolled hot off the press for the latest. With a few keystrokes and a couple hits of a button, those news and reviews can be delivered to one’s doorstep within seconds! Although we don’t have an app for that yet quite yet, we are working up on the idea. Just stay tuned to this very space for all of the details!
Until next time, thanks for the ride, and we’ll talk to you later!
NEWS AND REVIEWS
Performing at the Stella Adler Theatre in Hollywood is MUNTED, a performance that retells the lives and voices of the people that survived an earthquake that took place “down under”.
On February 22nd of 2011, a devastating 7.1 earthquake shook the southern island of New Zealand, the epicenter located just outside of the city of Christchurch, one of NZ’s larger cities. Some 200 people died from that disaster, and many others were left homeless. In this performance, a trio of performers (Victoria Abbott, Frith Horan, and Jacqueline “Jackie” Shaw) recreate the bodies, voices, and souls of a variety of citizens that were affected from the quake based upon actual interviews captured through electronic means, and recreated on stage as they were taken verbatim. The people represented range from a grocer, a dentist, a teacher, a police officer, and even a four year old as they tell what happened as they lived thorough it. They speak somewhat candidly and open, letting the details flow. A few just speak with a scattering of spare lines not stating much. It’s an eyewitness account through the ranks of human life facing the trails and tribulations of what mother nature can do.
This presentation as conceived by Victoria Abbott, is bestowed in a method where the trio of players take upon their roles speaking in various tones of voices and actions based upon what subjects are doing to speaking. (i.e. the grocer’s daughter acts as an adult while the four year old has the physical actions that a young child would bare.) Outside of the limited physical movement of the characters, it’s generally a voice program where the words take over the dramatic aspects. Remote of the backdrop used on stage consisting of a few pieces of furnishings with coffee/tea cups scatted around on the floor and strung above on strings over the stage area for dramatic stage relief, there isn’t any other visuals utilized. This is acceptable for what that is. However, every one of the cast members are native to New Zealand and thus, speak in accents commonplace there–but not necessarily in a community such as Hollywood. So one would have to listen closely to what’s being said. In addition, there are a number of words and phrases that are stated that may not ring familiar to Americans, let alone Hollywood types! Then again, these words came from those that are citizens of the nation that are captured by fellow natives, so that bit of unfamiliarity is just addressed to another demographic.
The title of this show MUNTED comes from a regional slang term used to described a state of intoxication. If one would translate that verbal use into something that an American would likely state, it might be somewhere in the scale of “F*cked”! Through the players acting out the words and meanings as directed by Katharine McGill, they cover emotions from pleasant to sad and even showing hope and meaning. However, New Zealand was not the only nation to suffer through a natural disaster that year. Later that spring, a tsunami hit the coast of Japan, and Superstorm (formally hurricane) Sandy, hit the eastern seaboard in the early fall, slamming into New York and New Jersey. Those two disasters received more news coverage in the USA than the earthquake of New Zealand. Nevertheless, this stage work holds merit and engagement while speaking about those that lived to tell a tale that others would barely fantom.
MUNTED, presented by New Zealand’s Bare Hunt Collective, and performs at the Stella Adler Theatre, 6773 Hollywood Blvd. (at Highland Avenue), Hollywood, until July 27th. Showtimes are Thursday, Friday,∂ and Saturday nights at 8:00 PM, and Sundays at 3:00 and 7:00 PM. For ticket reservations, call (323) 455-3111, or via online at http://www.BrownPaperTickets.com/event/704377
———————————————————————————————————————– TIFFI’S FRIENDS SAY…
(As posted on her Facebook “wall”)
Booked hotel and airfare for parent orientation at Columbia University in NYC . Totally lost it when I realized I only needed a one-way ticket for Hannah. *sniffle*
Dale and I aee BOTH going to zumba today with Mom. Evidently it’s more modern music. I’m not sure that is a relevant piece of data for my capabilities. Anything goes when Dale and I are together. I already informed her we will be in the second row close to mom. Her reply was, ” What?!!” This is an event that would be video worthy. I assure you…
Looking for a size 8-10, little girls dress for Kincaid Labor Day Picnic pagent
: Getting my foot gnawed off by a horse, followed by winning $25,000 while playing Plinko in Canada while visiting Lindsey. I would say my dreams covered the gamut last night!
Great weekend with Briana visiting, and we refinished the cabinets in the master bathroom!
As of July 7th, Tiffi has 2,106 Facebook “friends” and counting!
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