REPLACED BY A ROBOT?

As high tech gets higher by the second (literally), stuff like robots, artificial intelligence, and related matters that was at one time limited to science fiction tales, is now becoming part of the domestic landscape.

With the popularity of devices that one can “speak” to and “speaks” back to fulfill your wishes and demands (within reason of course), to driverless vehicles or machines that can service as your butler or maid, these gadgets are becoming more real each and every time. It’s even been stated that within a number of years, robots will live and work with humans. And when (or if) these robots become smarter and faster that what a human being can present, these robots will slowly yet steadily take the place of those that live, breathe, and demand a paycheck for services rendered.

With robots being built and programmed to work longer, faster, and perhaps cheaper that a real person, will they actually take over somebody’s professional job as these robots do the same work? Will a company ever hire a robot? Will anyone want to work with a robot?

Recently, The Gallop Poll conduced a study asking those on their opinions upon working with robots. and if their jobs will be replaced by a machine that can do all of the work much faster, longer, and of course, cheaper! Even though such replacement is a threat, most of those polled were not very concerned.

According to the poll, some 23% of those asked were concerned that a machine would take over their place in the work force. And if one was working in a so-called “white collar” job that at least held a college degree, the worry was far less. Some 15% of those with a sheepskin stated they were concerned and 19% of those in a professional position held the same fears.

If robots would take over in the workforce, it would be within position that deals with construction and manufacturing. Those assignments tend to be positions that take specific skills and strengths to perform the tasks on hand. This type of work can even be dangerous as accidents can be reduced through machine power vs. human force. A robot can be on an assembly line working 24/7/365 if the need calls. In construction assignments, machines that can lift and maintain heavy objects can do the work far beyond what a person can maintain. Not only can these machines do the work, but with a lot of safety issues connected to it all!

However, robots and related devices are not just limited to factory work or through heavy construction. Many retail outlets have over the years installed self-service checkout places where one can do their shopping, and instead of moseying up to a person standing behind a register, one can go to a self-serve register to pay for their goods using a credit card or perhaps cash. A voice (usually female) “speaks” to the person checking out stating the items they bought, the total amount requested, and even may add something like “thank you” or “thanks for shopping at (name of store)”. This way, this AI machine has a bit of human inside of her or him(?).

Some places where robots can perform the same job will never pan out, no matter how one can even try! Jobs within the fields of arts, entertainment and sports, and community and social services will never be taken over by machines. The Gallop report notes that 15% of those asked state that machines will replace humans on those type of tasks! After all, what fun would it be to attend a sporting event where it’s machines vs. machines? And although many actors do their jobs as “wooden”, that doesn’t mean that a feature film or television program starring robots will be entertaining! Then again, many of those same movies and/or TV shows are loaded with enough special effects where any real acting depicted will only to placed and seen as a side note!

In spite of all of this robotics that appear to be taking over, it will be a long time (if at all) when robots and other related machines will become dominate in the work force. After all, there are many jobs that has to be done by a person rather than a robot. And people would rather be served by a person rather than a machine that replies to your needs, even when that response if asked yet never heard!

So as it’s been stated beforehand, stay tuned!! (This is a recording! *BEEP!*)
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NEWS AND REVIEWS

Theatre 40 of Beverly Hills presents the Los Angeles premier of John Morogiello’s ENGAGING SHAW, a love story of sorts between a well-to-do Irish heiress and a well known playwright where the two take part in a game playing hard-to-get.

Jennifer Lynn Davis is Charlotte Payne-Townshend. She comes from a background where she lives a rather comfortable lifestyle. Grinnell Morris is George Bernard Shaw, a writer of plays. Although he is well respected both in his native country and beyond, his finances are much meager. He is presently writing another stage piece while being active in politics as a Fabian Socialist. He is staying in the cottage of Beatrice and Sidney Webb (Susan Priver and Warren Davis), good friends and founder of the political group Shaw subscribes to. He is keeping busy with his writings as he awaits for a theatre company to actually produce one of his works. Beatrice and Sidney invites Charlotte into their home to possibly have her become a benefactor to their political causes that promotes socialism. Once Charlottes encounters Shaw, she becomes quite impressed in this man, even calling him Bernie. Shaw, on the other hand, had a number of encounters of women within his background, even with a few ladies married and spoken for! He feels that he holds a superiority toward women, using the phrase superman–a term that would be used as the title of a future piece he would pen, “Men and Supermen”. However, Bernie doesn’t seem to care much for sex, perhaps suggesting that he doesn’t even want to “do it”! But the more Bernie talks about his domestic stand toward the opposite sex if not speaking for socialism, Charlotte’s desire becomes emotional stronger if not closer. It’s a classic example of the chase between a man and a woman or a woman and a man, set within the backdrop of Victorian-era England.

This play composed by playwright John Morogiello, whose writings last graced the Theatre 40 stage with The Consul, The Tramp, and America’s Sweetheart in 2016 (See review-Vol. 21-No. 47), is very witty and complete with sharp banter, especially with the verbs and such as spoken by Shaw. His character as portrayed by Grinnell Morris, shows himself as a man that knows where he stands, but delivers his methods in a way that is fit for the era of Victorian England. His delivery of being firm and to the point would be considered as aggressive at that time. Jennifer Lynn Davis as Charlotte Payne-Townshend also shows her place in society that is far from being “hoity-toity”. She isn’t stuck up per se, but she’s enough to keep following her Bernie with the notion that she would perhaps marry him. (She proposes!) Beatrice and Sidney Webb as played by Susan Priver and Warren Davis, appear as the supporting players that fields themselves as emotional support to Charlotte (via Beatrice) and Shaw. (Sidney and Shaw think politically alike!) But the real stars here are Charlotte and Shaw, as she attempts to get her man while Bernie attempts to get his man (himself), while awaiting to see his plays hit the floorboards.

Since this production is a period piece (1897 England), there is a lot of visuals to note along with the performance. Michele Young provides the period costumes, while Jeff G. Rack creates the sets that is just as charming and appealing as an English tea with biscuits (“cookies”) on the side.

Directed by Melanie MacQueen, ENGAGING SHAW is indeed engaging! It’s a romantic comedy for thinking folks. And unlike so-called “romcoms” of the present times, the notion of sex is more removed since in those Victorian times, nobody desired to admit that they wanted to ever “do it”! Of course, somebody has to “do it”! Otherwise, there wouldn’t be anyone left to see any of the Shaw plays that are still gracing a stage in some theatre located somewhere in this world. But for now, it’s Shaw the “superman” that’s being chased, far slower than a speeding bullet!

ENGAGING SHAW, 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 April 15th. Showtimes are 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 http://www.Theatre40.org
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The Morgan-Wixson Theatre of Santa Monica presents LITTLE WOMEN, THE MUSICAL, a tuneful tale bringing the beloved characters from Louisa May Alcott’s time tested story to life featuring the four sisters that come of age during America’s Civil War.

The story tells of the March sisters of Concord, Massachusetts consisting of Jo (Alicia Reynolds-Luoma), the tomboy of the family who desires to become a published author, Amy (Amy Coles) who seeks a romantic suitor, Meg (Amanda Greig) who holds toward a practical stance, and Beth (Zoe D’Andera) how possesses a sweet and kind hearted outlook on life. These young women are under the guise of their mother Marmee (Janet Krajeski), who looks after her children as their father is away serving as a chaplain for the Union Army. Along with the March sisters are Aunt March (Raymond Zachary) their well-to-do auntie who attempts to change Jo from being a “tomboy” to more of a lady, Laurie (Christopher P. Tiernan), a boy-next-door type that first falls for Jo, only to bond with Amy, Mr. Laurence (Larry Gesling), Laurie’s grandfather, and John Brooke (Daniel Koh), a gentleman who later marries Meg. It’s a tale of the hope and dreams these “little woman” keeps, along with the notion of romance, and the spirit of growing up in a time where the USA was emerging from civil war and to enter the industrial era.

This musical with book by Allan Knee, and musical score by Jason Howland and Mindi Dickstein, is a charming piece that takes the beloved novel and brings the story and characters to life on stage that keeps true to its original book source. The players that appear in this show have their wit and grace, especially the four ladies that portray the March siblings. The musical score under the transcribed direction of Daniel Koh, is mellow, smooth, and unlike stage musicals of late, isn’t brassy nor aggressive. It’s just one musical number upon the other that gives this enduring story the boost that it all desires.

In addition to the music and cast, Tristan Griffin’s set design consists of a few pieces of furnishings among “floating” scenes that progresses the story throughout, Anne Gesling’s costuming of the period clothing the women, et. al. wear, along with Jon Sparks on wig design that grace upon what the March sisters present themselves throughout their many escapades.

Directed by Anne Gesling, LITTLE WOMEN, THE MUSICAL is a showpiece the entire family can enjoy and honor. If one has ever read the classic novel before, or perhaps never having such opportunity to read about the March clan, this musical will fit the bill. It’s not often that musicals created within the 21st century can keep the charm to its top as this production as presented on the Morgan-Wixson stage brings forth to its success.

LITTLE WOMEN, THE MUSICAL, presented by the Morgan-Wixson Theatre Guild, and performs at the Morgan-Wixson Theatre, 2627 Pico Blvd., Santa Monica, until April 14th. 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 presentations held on Friday, March 23rd, and Sunday, April 1st.

For more information as well as ticket reservations, call (310) 828-7519 or via online at http://www.Morgan-Wixson.org.
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

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ACCESSIBLY LIVE OFF-LINE (C) 2018 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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