This is out time to take the virtual stage in order to bring to you, our annual report for the previous fiscal year that came to its end on June 30th.

Gabriel Heatter used to state in his radio broadcasts “There’s Good News Tonight”! And we are just about to state the same notion, although we will not limit ourselves to the evening hours. We’ll kick off our ode to joy with a few bits and pieces on why we present our message with jubilation.

For starters, since July 1st of ‘14, we have seen our circulation move upwards in terms to subscribers, page hits on our site on the ‘net (see below), as well as obtaining various forms of phrase and related methods of kudos for well wishers across the nation as well as the world. Our circulation has indeed seen a spike based upon out tallies. Although as this issue has gone to its virtual press, we are going through our circulation audits in terms of accessibility. Even though we don’t necessarily have the numbers (and listing numbers, although amusing for what they are, can become a bit dull, so we’ll skip those stats for now! However, they are bigger than what they were before.

Outside of getting more issues to the world so to speak, we are also reaching our goal to  present a new issue on a weekly basis falling on the same day of the week. In our early days, we used to present a new issue every other week. Then it went to near weekly, skipping a few weeks at a time. Then it because weekly, at times releasing a new edition a few days after the “week of” date, usually that Monday. Now, each new release of Accessibly Live Off-Line becomes available between the hours of 8:00 PM (PST) the Sunday before, and 2:00 AM (PST) that Monday. In other words, this issue you are reading notes it is for the week of July 6th–the first Monday in July. It became available through all sources between Sunday, July 5th at 8:00 PM (PST), and 2:00 AM (PST) July 6th. Although e-mails can and are accessed at a moment’s notice through various wired and wireless devices, many of those choose to review each issue the following Monday. If one begins their day at 5:00 AM, the latest edition is “waiting” for you. Simple? Indeed!

And we have made progressive leaps and bounds in terms to our presence in social media. We are found through the two giants in social media found in cyberspace: Facebook and Twitter. We would have a presence on Instatgram, but alas, we don’t post photos, although we never dismissed that notion! And although we don’t “tweet” as much as we could comparing to others to express their news and opinions that use this method daily–at times on an hourly basis, we do have a following of dedicating “friends” via our Facebook page. It is true that we still have a long way to go to reach our maximum number of 5000 virtual friends, but every single person and notion we connect with keeps their boding as tried and true–the same way one would wish to possess a real friend–just like in the good ol’ days!

And speaking of our presence on the web, we recently made our name much easier to type in. Now anyone in the world can check to find us. No need to type in any additional words or phrases. It’s just that simple!!

But this is not just about past accomplishments. It’s about what lies ahead! We are presently in the process of expanding ourselves, not only through social media, but through our issue itself. Again, these elements are in their planning stages, but stay tuned to future issues for news of these new phases as they develop.

If one did a Google search of us (“Accessibly Live Off-Line”) and/or this writer (“Rich Borowy”), one will see the various reviews of both theater pieces and feature films that were extracted from back issues over the many months and years. One can also find out about much of the other work we are involved in. Such elements focus upon our passion for still and moving image preservation (That’s photographs and film/videotape to those that may not know the term meaning of “still and moving imagery”!) We have worked behind the scenes with smaller companies and individuals that seek our services and expertise in order to preserve such media elements these sources posses. We provide a service that assist in keeping legacies-past, present, and future-alive and well placed. It may not mean much to somebody who hails from an outside circle, but for those placing themselves within, it’s a honor within the highest percentage!

This report isn’t just about tooting our own horn, it’s also about you the readers that made it all happen. Over the previous fiscal year, we have received many words of graduate and compliments regarding our reporting as well as the reviews we comment upon. And these comments are honest opinions sent to and from pleased and satisfied readers. And we hereby give our thanks to all of you that made it worth its while. After all, if we were not doing our job properly, you would tell us! You speak, and we listen!

And if you wish to communicate with us, we would love to hear from you all. Check out the last page of this edition to get details on how to keep in touch! Again, it’s your direct pipeline with us, and as you are at one end of the line, we’re at the other!

So as we glance upon the invisible rear view mirror to look at where we came from, we will affix our eyes on the road ahead so we may progress for the next twelve months and beyond. Again, the road may be bumpy at times, but we’ll dodge those potholes to get to where we are going! We know the road, and the road knows us!

So buckle up, roll down the window to catch that cool breeze, hold on, and enjoy the ride! We’ll be taking the scenic route, so pay attention You might miss something good!



     Currently performing at the Studio/Stage theatre is VICTOR HUGO’S LES MISERABLES, a reimagined version of the classic novel about social inequity, class rivalry, love and revolt, along with the actions of a small yet mighty army of freedom fighters working for the sprit of their nation.

In this take of the novel, the setting is moved from 19th century France to the first third of the 20th century. The story begins in 1936. There is conflict within the continent of Europe, especially in Germany where political strife is growing. George Almond plays Jean Valjean. He was a former thief but had since redeemed himself, now running a jazz club. Savannah Crafton is Fantine, a cabaret singer at the club. She has a daughter Cosette (Sophia Lilinoe Cesario) whose father long abandon Fantine and child. Valjean takes guardianship over the child in spite of his darker preceding life. Police Inspector Javert (Joe Hulser) who knew of Valjean from his previous actions as a thief, is on the trail to get back at him for his underlying past. Meanwhile, outside conflicts are heating up in France, eventually to fall under Nazi power. It will be up to the people of France to save their nation butting up against the odds set, fighting until liberation is fully restored.

This stage adaptation of this classic yet rather lengthily piece as tailored by British playwright Jonathan Holloway takes upon many of the story’s plot points and reconciles the storyline that is not only suited for the period the encounters take place (1930’s and 40’s), but it adjusts its backgrounds for the intimate stage area this production is presented in. Many of the novel’s main characters are represented. Some have different roles, such as Jean Valjean running a jazz club rather than being a factory operator, but the ideas and sprit remain intact. And unlike the novel that is told in epic proportions, this version as seen at the Studio/Stage theatre, is smooth yet efficient. It doesn’t boast a “cast of thousands”, but does feature a robust ensemble of players that perform under the direction of Jed Alexander. A number of performers also play multiple roles, reducing the body of actors that might crowd and otherwise overwhelm the stage area. This notation takes the logical ruling that less-is-more; a method that many theatre companies do and should take advantage of more often!

Those noted ensemble of players that are featured in this work, in addition to those noted above are, Eric Myler Geller, Ellyn Stern Epcar, Lonni Silverman, Angel Castellanos, and Donald Wayne.

Brandon Molman provides the video image projection that blends moving and still imagery showing the phases of the storyline’s progress. Michael Kozachenko provides the lighting, showing off the many moods this show possesses, and Matt Franta provides the choreography; not for dancing, but for its fight and battle motions.

This work by Victor Hugo has been told in many other countless means and forms. As linked to the theater, the usual and perhaps expected impulse is a rather long and complex musical work that is more opera than standard musical. That’s fine for what that is, but the only connection as seen here is the story it’s extracted from, and its length. (This play’s running time is nearly three hours, including the intermission!) However, the less-is-more strategy works quite nicely here, and that’s what makes LES MISERABLES “less miserable”! Vive la difference!

  VICTOR HUGO’S LES MISERABLES is presented by Planta Genista Productions, and performs at Studio/Stage, 520 North Western Avenue, Los Angeles (Koreatown adjacent), until July 26th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday evenings at 7:00 PM. For ticket reservations, call (213) 453-4901, or via online at


The semi annual D23 Expo 2015 will take place August 14th through the 16th at the Anaheim Convention center, just a short distance from “The Happiest Place on Earth!”

This event, described as the ultimate Disney fan event, as well as sanctified by the Walt Disney Company, will host a number of events, from panel talks, exclusive previews and showing of new Disney titles (including some surprises from the folks at ABC, Marvel Comic Group, Lucasfilms, and Pixar animation) and a whole lot more!

This year marks a few milestones within the Disney organization. Disneyland, the first and foremost of all major theme parks in existence worldwide, will be celebrating its 60th birthday–as well as Disney’s second entry into television-The Mickey Mouse Club that kept kids seated in front of their TV machines being entertained each week with the antics of the charming Mouseketeers!

The “D23” name is extracted from the year when Walt Disney and his sibling Roy founded their animation studio in 1923 that eventually grew into one of the biggest multimedia based organizations even known, reaching its name to nearly every place on the civilized planet.

As of this writing, more events taking place at the expo are being added in the schedule. To get up to date on all events, as well as getting complete ticket information, visit the official D23 web site at




is a presentation of Linear Cycle Productions

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ACCESSIBLY LIVE OFF-LINE (C) 2015 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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