And now, some of the letters we have received over the past few weeks with our reply. If you’re quite ready, let us begin…

Why doesn’t this blog ever report or comment upon what’s been going on this week? I’d like to get your honest opinion to these happenings!…

The above letter was one of many letters we have received throughout the spring and summer that asked us why we have never made any commentary over some of the news that has been eating up the media landscape. We will give our answer to those questions in a very straightforward manner.

Most (if not all) of these inquiries were based upon events taking place mostly in the USA that are part of some form of political or idealistic stand. Those events, some for the good while others were not, are events that should be brought up to one’s attention. However, as important as they are, these events and other occurrences do not fit within the scope of what these newsletter stands for. We don’t make any judgements or opinions over these events and the people behind them. We tend to avoid politics as much as we can. We don’t stand on any side be it right, left, or the middle, and the only “alt” we have access to aexists as the buttons found of the keyboard that (ironically) are placed on the left and right side of the space bar! And frankly, this writer doesn’t possess any knowledge on why these people and their ideals really exist in the first place. One can state that we are ignorant. Others can note that we are stupid. The rest can comment that perhaps we just don’t care. Take your pick!

In spite of the fact that these issues are important, we are not the place to find such opinions. When we began this news service way back in the day, there were a few places to visit on the ol’ world wide web to find such notations, from “official” news sites to anonymous posts placed on electronic bulletin boards. Those places were only made available to those that could get access to the ‘net, assuming one knew that those places to read and/or post commentary were aware that they even existed! In today’s post modern world where social media is the be-all-to-end-all, commentary can be found in so many places, one can’t decide just where to go and how! If one wanted to read a long essay created in a New Yorker style, or just spot of tweet at 140 characters of less, so be it! And if one doesn’t have access to any of that stuff floating around cyberspace land, then it’s because of the person’s own choosing!

Just remember folks! Accessibly Live Off-Line’s goals is to report on what’s going on in terms of media as well as some lighter commentary from yours truly. Much of that same commentary can be viewed as something that ranges to folksy to being “square”! And if I make any opinions on any political element, it’s not going to be too deep! If you want to find anything deeper, then seek it on our own. After all, why do you think Google exists in the first place?

…You don’t make much comments over current TV? Do you ever watch any of the (programs)?…

To place things in a nutshell, the reason why I don’t comment on specific new TV shows is for the fact that yours truly doesn’t have much of a chance to see what’s out there due to minimal interest. With the notion that “TV is everywhere” and in my humble opinion, (or “IMHO” in text speak), I don’t spend much time in actually viewing the shows itself, unless it’s a program that is based upon something of interest. But when it comes to a new sitcom, melodrama, or perhaps another super hero/comic book/graphic novel inspired action piece, I may know if it. But when it comes to actually watching it? That’s another story as that stands.

As a media archivist, I do watch a lot of TV. However, it’s programming created and aired some forty years after the fact, a bit too late to comment upon. However, it does prove how television did change since then when the “big three” networks did indeed rule. In today’s world, they still exist, but are attempting to race with the new(er) TV kids on the block as over-the-top (or “OTT”) video tends to be. That includes watching moving imagery on a smartphone at a screen size at 4” and less!

That’s all the news that’s fit to post for now! If you want to place your letters to the editorial staff, please see the contact sources found at the end of this edition. We’d love to hear from you!

DAEDALUS’ DAUGHTER, a new dance theatre piece written and directed by Carol Katz and currently performing at the Bootleg Theatre of Los Angeles, is a stage opis performed in five movements that remarks upon a distinct emotional state of being that uses the Greek legend of Daedalus and his son Icarus as its metaphor.

In this presentation, it begins its narrative of the saga of Icarus who, sporting wings made of wax, desired to fly as close to the sun as he could, only to have the wax melt from the sun’s heat, bringing Icarus to fall to his death. The myth is heightened upon the telling of this tale through the emotions of Daedalus’ daughter. This saga is then interwoven upon separate tales by others from a more modern era. But these fables from the others hold a common bond to one another that speak of an emotional state that is nearly unspoken of: An inner disorder, a maladjustment, or perhaps an instability. The element is part of a mental demise that leans toward self destruction, known as taking one’s life.

Although the basic theme may appear as grim, the method is expressed not presented as macabe, but as a series of flowing dance movements, A series of five performers, consisting of Lavinia Findikoglu, Clementine Gamson Levy, Kearian Giertz, Sean Spann, and Kirk Wilson, express the aspects of what this form of emotional vastness can bring to those involved through the motions of dance, set within a haunting and poetic mode using a blend of sound and sight.

Carol Katz, who created this concept of theatre and dance as its writer and director, uses her personal background of experience through her discovery found within her family legacy, as well as her own self being. WIth the association of choreographer Rosanna Gamson, the program exists as a theater program that dosen’t preach or scorn, but to show the face this form of manner holds using an expressive aspect. Its mood is felt toward a positive nature as driven with hope and grace.

In addition to the dancing as witnessed within the intimate stage set, there are the technical elements to note. Simon Greenburg provides the sound design as part of the score, with Darius Gangei’s lighting methods and set design by Tanya Orellana. The stage set consists of a row of columns resembling birch tree trunks placed upstage among a black stage floor tilted toward the audience. Although the stage itself is minimal, the dance movements are the real focus here among the theme this show presents within its seventy minute stage presence.

DAEDALUS’ DAUGHTER exhibits an intermix of personal discovery, sorrow, healing, and hope, moving toward a method to express itself in a poetic and somewhat surreal characteristic as intimate as it is epic.

DAEDALUS’ DAUGHTER, performs at The Bootleg Theatre, 2220 Beverly Blvd., Los Angeles, until September 30th. Performances are Thursday, Friday, and Saturday nights at 7:30 PM. Tickets may be obtained online at, or at Carol Katz may also be found online at
Making its west coast premier at Beverly Hills’ Theatre 40 is David MacGregor’s VINO VERITAS, a comedy about two couples sharing a strange brew with one another, receiving an unexpected result from its consumption.

It’s All Hallow’s Eve-Halloween Night. And living in a suburban bedroom community is Lauren and Phil. (Christine Joelle and Shawn Savage) They are a married couple with a pair of young boys. Their neighbors and good friends Ridley and Claire (Daniel Kaemon and Kristen Kollender) come over ready to leave as a group to attend another neighbor’s Halloween party. Lauren and Phil run a local photography business, but were once photographers taking pictures in exotic locations. Ridley and Claire, also parents of young kids, have their own line of work as Ridley’s a doctor while Claire holds an occupation once known as a “housewife”. While decked out in their best Halloween duds where the party they are about to attend offers a costume contest, Lauren decides to offer a special wine they picked up while on a long past assignment in Peru. This wine, blue in color as made from the skin of a blue dart tree frog, was known by the natives to carry some kind of “truth serum” where whoever drinks the wine will speak the truth. So upon consuming this wine, an unintentional game of truth or dare begins among the pair, leading into many unwitting climaxes.

This play starts off as a comedy as the four characters go through many detailed and amusing domestic bits and pieces that would normally be found in many post-modern TV sitcoms. Upon completing of its first act that bleeds into the second act, the mood shifts from comedy into drama. The truths that the characters speak about when they consume their blue colored concoction become rather serious in nature, touching upon topics that are not humorous by essence. This method in writing sobering subject matter from a comical backdrop is very reminiscent to a 1980’s-era sitcom that featured a “very special episode” that began in a normal fashion. Once the serious subject matter is brought up by the cast by the end of the first act, its second act deals with the extended topic sans laughs, ending upon a lower emotional stance. That what this play presents as its mood. However, when it becomes funny, it’s funny! The cast of four that portray a bunch of friends from suburbia are very likable for what they are in that sitcom method of humor. Michael Karm is on hand to direct this production that moves when its comical, and becomes rather limited when its temper takes its next step.

What also makes this play a treat to see visual-wise is its set by Theatre 40’s residential set designer Jeff G. Rack, presenting a living room that is big in size and inviting by nature with plenty of Halloween decor scattered throughout. Its costuming is helmed by two parties. Michele Young provides the standard ware, while Angela Nicholas provides the design to a pair of Halloween duds worn by Christine Joelle and Kristen Kollender. Kristen as Claire dresses up as Queen Elizabeth I, and Christine as Lauren is decked out as a “hokus pokus” witch.

The title of this play VINO VERITAS comes from a Latin proverb that means “in wine, the truth”. Although this writer isn’t much of a wine fanatic (no offense, folks!), perhaps this same writer will note the truth, stating that if the second act offered as many laughs as experienced in the first act, this show would be presented as an upbeat and comical play with a “screwball” persona. But with “very special episodes”, sometimes one can’t properly laugh toward what is spoken about! However, it’s still entertaining for what it is! And one doesn’t have to drink the wine to discover that fact!

VINO VERITAS, presented by Theatre 40 and performs at the Reuben Cordova Theatre, located within the campus of Beverly Hills High School, 241 South Moreno Drive (off little Santa Monica Blvd.) Beverly Hills, until October 15th. Showtimes are Monday, Thursday, Friday, and Saturday nights at 8:00 PM, and Sunday afternoons at 2:00 PM.
For ticket reservations or for more information, call (310) 364-0535, or via online at

The Morgan-Wixson Theatre of Santa Monica presents [TITLE OF SHOW], a stage musical about two guys that make an attempt to write a stage musical and the so-called success it may bring or not.

Daniel Koh plays Jeff, and Chris Tiernan is Hunter, a pair of friends that are also struggling writers. They learn that a theatre festival is seeking new and original musical pieces. However, the deadline to submit an entry is only three weeks off, and they have no ideal of what to write about! With the aid of two struggling actresses Susan and Heidi (Keaton Talmadge and Alica Reynolds Luoma), they brainstorm on getting a musical created so their entry can be submitted and possibly become a big Broadway musical–or perhaps an off-Broadway hit–or maybe just a musical! Using any idea they can think of as well as any plot taken from other sources–a musical based from a movie, TV show, or comic strip, they create an original entry about two struggling writers attempting to create a musical, calling it “title of show”, inspired from the first line found on the entry form! Will Jeff and Hunter’s new musical become the next big hit, or will their work become one of the many burned out bulbs found on Great White Way theater marques?

This musical about writing musicals features the music and lyrical score by Jeff Bowen with book by Hunter Bell. It shows itself off as a very witty musical by a pair that knows what sells on Broadway, and what may not! It’s also a very minimal program as well. All that is seen on stage are the four cast members, four mismatched chairs, and off on stage left is the keyboardist performing the musical score. (Zach Neufeld plays the music playing a character called “Larry”). The show itself is charming, witty, and holds enough “Broadway” content that fits within its 90 minute one-act package. Laurne Blair provides the choreography as no musical would be complete with some kind of dancing under the stage direction of Aric Martin.

This show was actually based upon an attempt for the playwrights to create a musical entry for the New York Musical Festival. It seems that it eventually become a success since regional community theaters such as Santa Monica’s Morgan-Wixson Theatre opens their 2017-18 season with this piece! It may not be a big production, but big things tend to come in very small packages!

[TITLE OF SHOW] presented by the Morgan-Wixson Theatre Guild, and performs at the Morgan-Wixson Theatre, 2627 Pico Blvd., Santa Monica, until October 15th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday afternoons at 2:00 PM. A special talk back session where the cast and crew discuss their performing as well as taking questions from the audience, occurs after the performances held on Sunday, October 1st, and Friday, October 6th.
For more information as well as ticket reservations, call (310) 828-7519 or via online at

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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