Here we are with presenting to you our annual report as we begin our new fiscal year.
I’m pleased to report that we are through a robust period. We have been attracting more subscribers that read (or have access to) our issues through our web presents at AccessiblyLiveOffLine.com. Although we still maintain our “classic” e-mail subscription service, many of our readers receive our news through the web site, be it on a traditional computer device (desktop and laptop), as well as on electronic pads and smartphone devices–the fastest and most popular method of getting online no matter where anyone can be. Just as long there is ‘net access, there we are where you are!
Instead of presenting boring yet important facts and figures on how our circulation number rank up, we will make note about a few elements we have been encountering, as well as the reaction to these notations.
First, we are in the process of changing our web presence, giving our look a much cleaner design. The change is going on through a rapid rate, but may not be totally completed as of this writing. If you do see those changes, that means our high(er) tech staff has done their duty. If you see the standard material, please be assured that the high tech staff is on it! If they are not, then we’ll give them a well intended “hotfoot”! (Thanks for your concern!)
As to you our readers, we have over the many weeks and months been reading and receiving your e-mails and text messages about our service. Although it’s been a while since we have presented a “Letters to the Editor” edition, we have been responding to your comments and suggestions. One question we have been asked every so often is the reason behind our news service’s name. That is, why are we are called “Accessibly Live Off-Line” when we are in fact “on line” rather than “off line”.
The simple answer to that question is because when we got started some twenty and a half years ago, anyone that attempted to make a presence on the web that wasn’t a big company or service department was considered a person and/or company that wasn’t necessarily taken seriously. Although the internet was starting to get its act together in the middle 1990’s, many folks wasn’t quite sure just what to do with it. Social media as its now known really didn’t exist. Anything one did as “social” on the ‘net was limited to visiting chat rooms and posting and replying to messages found on static “bulletin boards”.There wasn’t any moving imagery available on the ‘net to view, as such video imagery wasn’t practical for mass usage as it took too much broadband power. (High speed internet, though in existance at the time, was mostly used by corporate industry since it was rather exspensive to maintain for what it was!) Ditto for cell phone service. (Forget the notion of getting on the web with your phone since your couldn’t!!) And most (if not all) of the high players in the ‘net world wasn’t even in existance! (No Facebook, no YouTube, or any mass merchant selling of goods!) Thus, it was a totally different reality world when we got started.
However, to remember about those thrilling days of yesteryear, we decided a few years back to keep the “off-line” part of our label. It harks a time when life was simpler and didn’t necessarily move in so much of a rapid pace, one couldn’t keep up. Then again, folks in the middle 90’s were recalling a time some twenty years before (the 1970‘s) when life was a whole lot easier. Back then, people were waxing nostalgic about the time two decades in the past when people lived in a better time (the 1950‘s) when movies were cool a la James Dean, TV was in black and white, and rock and roll was more fun to listen and dance to! And so it goes…
So what’s going to happen to us in the next twelve months? More of the same and then some! As always, we will continue to strive providing you the readers with the same news and reviews that you have been looking for. And we will be offering newer features and related aspects over these coming seasons. Just watch this very space for those further developments!
With those topics being said and done, we do invite you to send us your feedback. Just drop us a line through our many contract sources as posted in the final page of this here edition. We will read and review each comment received. Granted, we can’t necessarily reply to everything we get from you. And when we do, it may take a while for us to reply. (We are fast, but not that fast! So much for instant gratification!) You know the routine!
Thanks to you our readers, for making all of this worth while. We are honored to still be around from all of those wild and wacky times. And we will look forward to more of those same hazy, crazy, lazy days of summer, as well as fall, winter, and spring! In a high tech world we are still called “Your Low-Tech News!” And that’s a fact, Jack!
NEWS AND REVIEWS
Aaron Sorkin’s A FEW GOOD MEN, a drama set upon a murder of a comrade committed by two Marines stationed at Guantánamo Bay, Cuba, and the military attorney that makes an attempt to provide their innocence facing a deep circumstance, opens at North Hollywood’s NoHo Arts Center.
The tale deals with the death of a raw Marine recruit, PFC William Santiago (Diego Abelardo) from what appears to be some kind of hazing exercise. Two of victim’s colleagues, Lance Corporal Harold Dawson (Travis Quentin) and PFC Louden Downey (Zack Roosa) are arrested and charged of murder in the second degree. There is some form of suspicion involved that the suspected Marines were acting under orders in regulating of a “code red”. This label is the term used in the Marine Corps to describe an internal disciplinary punishment procedure. When the accused Marines refuse a plea bargain agreement, the case is assigned to a Naval attorney, the Harvard educated Lt. jg Daniel Kaffee (KC Clide) along with Lt. Cmdr. Joanne Galloway (Sarmarie Klien), a female officer that strives within a nearly all-male military set school of procedure, and Lt. J.G. Weinberg (Mike Lawson) who is more of a sidekick that a hard leader. This legal staff team is on hand to defend the accused, although their may be some kind of cover up involving Lt. Corneal Nathan Jessep (Dennis LaValle) who possibly ordered the code red alert against PCF Santiago who was not up to Marine Corps standards. It’s up to Kaffee and his under experienced legal staff to find out the real truth behind this case, in spite of undergoing upon a Marine private code of loyalty to “unit, corps, God, country”.
This production as presented by the Warehouse Studio Theatre, a theater troupe that offers this show as its inaugural stage work, showcases it as a very intense and hart hitting drama, set within the realms of the military complex. The lead characters that play the legal defense team (KC Clide, Sarmarie Klien, and Mike Lawson) operate in a harmonious trio. Clide, as Lt. jg Daniel Kaffee is in the lead with hints of playing his part as a lower level comical role. Mike Lawson as Lt. J.G. Weinberg is the for noted sidekick that is (slightly) reminiscent of a intelligent goofball! Dennis Laville as Lt. Colonel Nathan Jessep is more of the “bad guy” present. Although young in age for his rank in the corps, he is more of the chairman, yet holds his own intentions in mind in the sprit of a government backed operation–the armed forces. The more exceptional action falls within the second act where the drama unfolds within the courtroom setting. This notation isn’t necessarily a so-called “spoiler alert” since it does involved a murder case and how justice is obtained outside of a civilian domain where the rules and attitudes are totally different. Tony Pauletto directs this play that offers the high action that is very obvious as well as the reactions between the other characters that can be seen. One would have to look closely for these little actions that show off the real energy this play creates.
As with military operations, it does boast a very large ensemble cast. Outside of those noted above, this production also features (as listed within their alphabetical order), Stanley Brown, Jake Davidson, Seth Ginsberg, Steve B. Green, Alexander Harris, Phil Hayes, Reed Imhoff, Johnny Kios, Dennis LaValle, Angelo Quals, Andrew Roach, Zack Roosa, Meneesh Sharma, Bob Telford, Jermy Torgerson, Frank Tran, Jonny Walker, and Dan White.
Besides the cast, one should note upon Lacey Anzelc’s set design of the few scenes depicted, including the courtroom setting. This is a prime example of the less-is-more method of stage set design where the backdrops are muted in a dark blackwash, along with bleached blond furnishing pieces set to create the scenes as depicted.
A FEW GOOD MEN is one of the few good plays that just gets better through the ages. The military as it stands holds upon their own code of ethics, and this code continues to progress, be it for the good or otherwise. And one must stand that truth!
A FEW GOOD MEN, presented by the Warehouse Studio Theatre, performs at the NoHo Arts Center, 1136 Magnolia Blvd. (at Lankershim), North Hollywood, until July 17th. Showtimes are Thursday, Friday, and Saturday nights at 8:00 PM, with Saturday and Sunday afternoon performances at 2:00 PM.
For ticket reservations or for more information, call (800) 838-3006, or via online at
——————————————————————————————————————— ORANGE IS THE NEW MUSICAL-THE UNAUTHORIZED PARODY, The Veronica Vasquez-Jared Goode production that inspires itself upon a popular television program, creating a musical version that takes a fun poke to the suggested show.
Bailey Humiston is Piper Chapman, a WASPish young woman who lived a good upper class life, expect for the fact that she served as a “mule” smuggling drug money for her one time friend Alex (Phillip Rodriguez), eventually landing her inside of Litchfield Penitentiary, a minimum-security woman’s prison. Piper learns quickly about prison life, from the various inmates to the correctional officers. However, there are more stories to tell from the inside to what exists on the outside as Piper realizes, in spite of her previous and somewhat protected life. The inmates coming from different backgrounds are there serving their time, but seem to be more interested in getting it on with one another. Before long, her orange appearance becomes her new fashion statement as she leads her life behind bars while the rest of her group serve as either givers or takers!
This musical contains a vast songbook of lively tunes with some catchy lyrics that goes with its “book”. (Veronica Vasquez provides the musical score, Jared Goode creates the lyrics with Vasquez and Goode on the “book”.) Much of its plot involves the lead character Piper as performed by Bailey Humiston, tearing her life between herself and an ensemble of fellow prisoners with lesbianism on their minds–a semi subplot that lingers throughout this production! However, Piper did leave a fiancé behind named Larry (Alex Mashikian) who is just as WASPish, although he is of the Jewish persuasion!
And spearing of the cast, this show does boast a rather robust troupe of players, many performing in multiple roles from inmates, guards, and those from the outside. Those performers are (as listed in their orider of appearance), Eloise Coopersmith, Dani Nicole, Tiffany Commons, Kate Strauss, Michaela Kahan, Sunny Bartee, Alexandra Gray, Marisha Legan-Johnson, with Whitney Moorman and Genevieve Joy as the “Hollywood Show Cops”. These two do not appear in the actual performance, but are present serving as a “pre-show” dressed as role play cops extracted from a kinky fantasy.
Its musical score is performed from the show’s live band appearing on stage right featuring the talents of Remy Gray on keyboards, Gilbert despot on bass, and Veronica Vasquez on percussion. Michaela Kahan and Marisha Legan-Johnson creates the choreography (with Ludonna Loney) that add sparkle to this showpiece. The dance movements along with the musical soundtrack are the saving graces to this program. Of course, it dose help intensely if one was familiar with the TV series and/or the book it comes from to appreciate this satire. If one doesn’t know its source too well, then what is depicted on stage is a bit difficult to tell to what’s satire and what is based on “fact”.
Directed by Vsev Krawczeniuk, ORANGE IS THE NEW MUSICAL-THE UNAUTHORIZED PARODY accurately describes what this show really is–a musical satire of a TV show seen via internet based streaming aka “streaming is the new cable”! As to its legal status? This writer only reviews stage shows and won’t play attorney here. However, there is a visual disclaimer placed at its closing musical number asking the creator of the TV series not to sue! Perhaps that invisible lawsuit could be a topic to adapt for yet another stage musical! After all, it is satire assuming that anyone can take a joke!
ORANGE IS THE NEW MUSICAL-THE UNAUTHORIZED PARODY, presented by Kefi Studio, and performs at the Whitefire Theatre, 13500 Ventura Blvd (at Sunnyslope), Sherman Oaks, until August 19th. Showtimes are Friday nights at 8:00 PM.
For ticket reservations or for more information, visit the web site at
The Glendale Center Theatre presents the classic tale of THE WIZARD OF OZ, L. Frank Baum’s beloved story of a young girl from the heartland of the Midwest whose journey take her to a magical place located over the rainbow with a trio of amusing characters in tow, and a wicket witch at their heels.
Katie Hume is Dorothy, a girl living on a Kansas farm with her Aunt Em and Uncle Henry. Working on the farm are three ranch hands getting the farm duties in check. And there’s Dorothy’s dog Toto (performed by Scrappy) that doesn’t take a liking to the local spinster Almira Gulth (Lisa Dyson). Getting caught in a twister, she falls into the land of Oz, an entrancing place that has their noble with the good witch Glinda (Monica Ricketts), and the evil one, the Wicked Witch of the West (Monica Ricketts). In order to get Dorothy back home, she must travel to the Emerald City to meet the great and powerful Wizard of Oz (Marty Hrejsa). As she travels on that yellow brick road, she meets the Scarecrow (Jeremy Edwards), the Tin Man (Taylor Wesselman), and the Cowardly Lion (David Gallic), who joins her to encounter the Wizard to seek a brain, a heart, and courage!
This stage musical adaptation by John Kane, using the classic feature film’s screenplay as its source with giving prominence to the songs and music by Harold Arlen and E. Y. “Yip” Harburg with background music by Herbert Stothart, establishes itself off as a very delightful stage production. There is a lot to view within this GCT program consisting of its very sturdy cast of main players as well as by a huge ensemble–from the Munchkins as performed by a talented group of youngsters to those in the background as dancing citizens of Oz. As much as this writer would desire to list all of the names of those that make this show happen, space won’t allow to acknowledge each one individually. But they do add the intense charm and appeal this program creates.
With such a showcase, there is a great deal of behind the scenes talent to recognize. Jamie McMahon provides the choreography. Steve Applegate and Angela Manke (both are repertory GCT production crew members), provides the transcribed musical direction and costuming respectfully. Adding to all this is TIm Dietlein’s lighting, Alex Mackyol’s sound design, along with Todd Nielsen’s stage direction. These elements all add up to a very appealing program that all ages can enjoy no matter how familiar one is to the story and songs that blends into its desirability, calling on with the ages.
One never appears to ever tire of such works that has been around for longer than anyone can recall. THE WIZARD OF OZ is just one of those shows that only gets better through the annals of time and space. Bring the kids, and bring the adults too! Just click your ruby slippers, prance down that brightly colored brickline path, and just say there is no place like home because you are already there! (PS…don’t forget to check out the clever opening titles projected to commence each performance!)
THE WIZARD OF OZ, presented by and performs at the Glendale Centre Theatre. 324 North Orange Street, Glendale, until August 20th. Showtimes are Thursday, Friday, and Saturday evenings at 8:00 PM, and Saturday matinees at 3:00 PM with Sunday afternoon performance at 3:00 PM on July 10th and 17th.
For more information and for ticket reservations, call (818) 244-8481, or visit the GCT’s web site at http://www.GlendaleCentreTheatre.com
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