STILL GOIN’ TO THE MOVIES!

In the media world, there is always some form of news being announced about updates on those TV streaming services consisting of TV “channels” where one can watch content delivered through an internet-based connection either for free (with advertising) or for a monthly fee. (No ads!!) This method of information informs upon what service will be offering what, when, how, as well as how much.

From all of these details, it appears that obtaining long(er) form entertainment is more accessible than ever before! Not so much on what to see and how, but just the fact that if one wanted to view some form of content, be it a “TV” series, a feature length movie, or even short form video–content that runs ten minutes of less, then it’s available for cheap or for free!

With this being all said and done, one would think that going out of one’s way to view content for entertainment purposes would be considered as “old hat”, and perhaps something from another generation, especially to a much younger demographic. However, this doesn’t appear to be the case.

On April 26th, The Walt Disney Company released the feature Avengers: Endgame, supposedly the “last” entry to the Avengers movie series. This super-hero comic book action/adventure title became one of the top box office entries in all of moviedom. On its opening weekend from Thursday, April 25th (when it showing as a “preview”), through Sunday, April 28th, it grossed some $350 million in North America. Adding the rest of the world, that came to some 1.2 billion dollars. And these numbers only reflect the time period noted above!

Many of the numbers that came through such sources as BoxOfficeMojo.com, recorded that this movie broke many previous records in terms of the money earned through theatrical showings. The previous movies that once held said records as biggest grossing amount on a Friday, biggest international gross (international meaning outside of North America), and so on, were either the previous Avengers titles Avengers: Infinity War, and Avengers: Age of Ultron, or Star Wars: The Force Awakens. All three titles were released by The Walt Disney Company. Two other tiles once holding some kind of money making record now broken by Endgame; Jurassic World, The Fate of the Furious, and Despicable Me 3, are owned by Universal. Those movies hold a similar link as those tiles are also action/adventure comic-book-esque selections, but not falling into the “super-hero” category. And Despicable Me 3 is an animated title. That is more “comic book” than any other those making making movies noted above.

However, those numbers are from the theatrical showings, the ones where people physically head over to a movie theatre, plunk down anywhere from $5.00 to as much as $20.00 per adult (18+) for the privilege of viewing this title inside of a large darken room along with other strangers that can laugh, cry, scream, and yell with the action taking place on the big screen. This method of watching content has been around for over 100 years! The type of content screened, the way it’s presented (silent, sound, color, widescreen, 3-D, etc.) and to what is viewed and how within those methods changed over the generations, but the procedure hasn’t. It’s all the same, and for a majority of the time, somebody has to pay up for this privilege.

Of course, when television became first accessible in the late 1940’s, this was counted as “the beginning of the end” to the movie industry. Many of those big deal studios that churned out content on a regular basis (at one time, MGM used to release a movie every week!), thought that within a few years, nobody would ever see a movie in a theater when they can stay home and become entertained at for free. (Not really “free” since one had to go about to buy a TV set in order to watch the said content at home!) But unlike buying a TV set, there wasn’t anything else to pay–not counting electricity to fire up the set or to pay a TV repair man if the set itself goes on the blink!

Movie theaters however, changed admission. Depending on where one was seeing a movie, those costs could range from as little as fifty cents to as much as $4.00 based upon dollar amount values from the time period.

As one can guess, TV may have changed the ways and methods that movies are created and distributed, but movies themselves never totally went away! And the above statistics all prove these points.

So why do people still go out to the movies when they can watch content on any electronic device that sports a screen for the same price or less? Perhaps the biggest argument to this notion is the fact that it gives people a change to get out of the house, as well as experiencing something with others that react in methods the single viewer may not necessarily experience on their own! For instance, if one was viewing a comedy, then one would hear some laughs along with what was being said and/or done on screen! If the viewer was watching the same content sans audience, that joke or gag may not appear to be as humorous. It may not even be noticed! That in-person “laugh track” makes the joke more funny, depending on the amount of laughs the gag in question received! TV sitcoms always presented a laugh track that made almost every single joke, gag, or situation fall into the same level of humor, even if the person experiencing the gag didn’t think much of the schtick presented.

So what this all breaks down to is the fact that movie theaters exist so one can watch a title with built-in emotional appeal, and to get away from where one dwells. The person is inside of a place, the movie theatre, not seen as often, or never been seen before. Yes, one may have to plunk down a few dollars for this experience (not counting concessions where the theaters make their most money), but one will do so for the experience, rather than anything else. One can’t necessarily receive that same experience watching a movie (or anything for that matter) on a 50” wide TV monitor, or on a hand held device with a screen as little as 4” in diameter.

So don’t worry folks! That nearby movie house that sports as many as 30+ screens in one place won’t be going away for a while! So if one has a hankering, one can still spend a Saturday night at the movies. And who cares what picture you see! When it comes to being in the balcony with your baby may be a bit of a challenge as these same theaters no longer have balconies, and babes in arms also need a ticket, if they are even allowed inside of a moving picture house! Then again, there is always the chance that one can hand that babe a smartphone to view anything age appropriate. However, that topic is for another article as that stands!
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NEWS AND REVIEWS

Ensemble Studio Theatre/Los Angeles presents MOVING ON: THE 2019 ONE ACTS, a performance consisting of five different short plays that deal with the life and times of now.

The program starts off with Sophia Lewis’ ROCK LOGIC, directed by Katie Lindsay, where Sammy (Kait Schuster) tells her girlfriend Taylor (Saliha Muttalib) that as a child, she was assigned to be the “earth assistant” to a series of large rocks located in a nearby park where she can communicate with its spirit.

The second entry, Jeannie Webb’s SMILING CAT CANDY HEARTS, is about a newly separated couple that hold a discussion at a fast food restaurant on how they will schedule visitation custody of their twelve year old daughter who only communicates by speaking in “emojis”. Christopher T. Wood plays the father, Lauren Campedelli, alternating with Desiree Mee Jung, is the mother, and Juliette Allison Bailey, alternating with Julianna Riley, plays the daughter. Directed by June Carryl.

The next production, Ashley Rose Wellman’s THE COLD PLACE, is about Robin (Lizzie Peet, alternating with Brenda Varda), and Daniel (Wes McGee), who meet at a motel room that resemble the two having an affair. However, this meeting doesn’t turn out to be as what’s expected. Christopher James Raymond directs.

The fourth entry is Christine Hamilton-Schmidt’s POSSIBLE DERANGED LUNATIC, where a mother and her adult daughter (Sarah Brooke and Poonnam Basu) spends their late nights listing to a podcast that tells true crime stories of horrendous murders. They receive a visit from Peter (Michael James Bell) who is a neighbor that just moved in. He brings a cherry pie as a welcoming gift. Is Peter really a friendly neighbor, or does he have an evil plot in mind? Directed by William Charlton.

The fifth and final entry is Ken Levine’s SIGNING OFF, about a meeting with Teddy Hold (Nick Ullett, alternating with Michael C. Mahon), a well known late night TV talk show personality, and Josh Barnes (Clayton Farris), an up and coming stand-up comic who is chosen to become Teddy’s replacement. Is Teddy really ready for retirement, and will Josh take over to represent the new generation? Tony Pasqaulini directs.

This anthology of short single act plays (thus the title of this collection), speaks for how the times are indeed changing, while the conflicts each presentation speaks for can be as timeless. As with anthologies, it’s indeed a mixed bag as some short pieces are better that the others. However, in spite of this eclectic selection, each passing stage piece shows off its own unique voice, even if that voice falls upon a quirky slice of life as one may know of it–or not!

It’s not often that one can experience a group of short plays as this collection consists of. It’s been stated that big things come in small packages. MOVING ON.. is a stockpile of those intimate packages that hold plenty of ideas, with a few good laughs inserted to boot!

MOVING ON: THE 2019 ONE ACTS, presented by Ensemble Studio Theatre/Los Angeles, and performs at the Atwater Village Theatre Complex, 3269 Casitas Avenue, Los Angeles (Atwater Village), until May 26th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday afternoons at 2:00 PM.
For ticket reservations, visit https://dime.io/events/2019-one-acts. For more details, visit http://www.EstLosAngeles.org/2019-One-Acts
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Theatre West presents Abbott Alexander’s solo show THE LONG GRAVEL ROAD, a spoken saga about one soul’s personal journey through time, space, and reaches yet to be taken.

Abbott enter his space where he begins to emote about what he sees. Not in any physical capacity, but through points that lead up within his mind, noting a vast arrangement of thoughts. Upon entering a “dark mystical neither world”, leading toward a sprinkling of pop culture references (some well known, other long forgotten), he brings himself back to where he came and where is is heading–perhaps the fore noted long gravel road of life!

In this performance, Abbott’s one man showcase is not akin any type of single presenter’s performance. Unlike the other said shows where the performer acting as storyteller spins a narrative about a background that was experienced, he speaks in a service of prose that isn’t necessarily connected, yet forms toward a poetic stance to it all! His speech doesn’t fall as a “once-upon-a-time-I-lived-a-life” persona, but as an antidote that must be realized from the master itself. In other words, it’s a theater piece that is difficult to describe in a linear sense. One must be there to fashion it all…and what fashion! Donning an outfit of total black (t-shirt and darken slacks) hoisted on a stage that is as black, he carries on for roughly sixty-five minutes uttering his say of his unique prose sans metrical structure. It’s all Abbott standing tall on his theater podium.

Along with this vast staging of witticism, Garrett Parks provides the musically based soundscape effects seated off stage right, ranging from a rap on a drumhead, to the audio vibe of musical sounds played upon an electronic keyboard that add drama to Abbott’s speeches. His musical effects speak for its own self!

Again, this solo show as presented on Theater West’s stage is more of a poetic slam that doesn’t slam. It doesn’t suck either because it’s idiosyncratic! And yes, there is a bit of humor added to this mix of verbal prose. One may have to seek for it, but it’s indeed present. For those that desire their stage theatrics verbiage as a stand alone, Abbott’s presentation is for that fan. As the theory states, you have to be there to really receive and interpret to the message! That long gravel road is there, so take it!

THE LONG GRAVEL ROAD, presented by Theatre West in association with Pergola Productions, performs at Theatre West, 3333 Cahuenga Blvd., Los Angeles, until June 1st. Showtimes are Saturday nights at 8:00 PM.
For ticket reservations, call (323) 851-7977, or via online at http://TheatreWest.org/The-Long-Gravel-Road/
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

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ACCESSIBLY LIVE OFF-LINE (C) 2019 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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STIFF COMPETITION

It is no surprise to anyone out there that this newsletter is not the only one of its kind that’s made available to anyone that desires to read it.

And rightly so! Since we began in this nonsense called “alternative journalism” some twenty plus years ago, we were one of a handful of pioneer sources to write about news and current events (or its equivalent thereof) that wasn’t necessarily found in so-called “mainstream” publications that were made available to the general public. In today’s media landscape, we are now part of the crowded areas where just about anyone and everyone can take out a part of their ever busy schedule to knock off a few words of so-called “wisdom” addressed to anyone that appreciates the attention, let alone gumption. There notes come from those that will say in a few words, “Please read me because I fell I have something to say!”…or something to that cause!

And within the last few days, weeks, months, and perhaps years, we here at Accessibly Live Off-Line central have felt the crunch. Anyone who can hack out a line or so can do so wherever they may roam, just as long as there’s a WiFi spot made available. This is true especially from those that are attending some kind of event, festival, or other place of existence that’s worth a comment or two! During a resent music based event that took place not too far away, those with their ever lovin’ phones were reporting upon the events taking place at the festival, and it wasn’t necessarily about who (or what) was performing on its stages. A lot of the notes spoke about what was going on with the person reporting the said news, usually through social media outlets. A good number (too many?) of these same reports were about “Hey! I’m here!!” and that was about it!

And these on-the-spot notes just wasn’t limited to text. It was mostly through audio and/or video streams. Thanks to such applications as “Facebook Live”, one can stream live video wherever they may be on what topic that is worth to stream about. Granted, thanks to recent events where a single person used violence to get their points across, there may be new restrictions on how these streaming applications can be used. But the idea to all of these antics in the name of journalism is the fact that anyone can do these reports under the vague title of “journalist”, and believe that they can within those realms. And the sad note to it all is the reality that it’s rather taken seriously!

This is a far cry to those bloggers that starting out on their musings to later wind up as something called “brand ambassadors”, where they receive a remunerate stipend (i.e. get paid) to hawk a product and/or service through their text/audio/video reports, usually in the form of a “review” of the said product and/or service stating that this item is the best of its kind! Since one is going to receive a pocket loaded of cash-ola just to mention the product/service, then one should state that it’s the best of its kind–don’t you think??

So what is this writer trying to get to through these musings? Well, in our first edition of this calendar year (Vol. 24-No. 1 to be exact), we have stated that we will make an attempt to give more emphasis in our program reviews and less to the weekly pondering. It’s not because we don’t have an interest in providing this said commentary. (And believe us, it’s been part of our bread-and-butter for all of these years!) But it is the fact that we find out that our readers take more of a stand through our reviews of events (especially stage theater productions) than what we would normally ramble about as an opening. And the recent data we obtained proves these points.

Every quarter, we go through an audit in terms of our circulation numbers and where our service reaches. This audit, performed by a firm that does such audits for on-line publications as ours, tallies the amount of traffic we receive each week. We can determine what days of the week are the most heaviest in terms to those visiting our website AccessiblyLiveOffLine.com, what time of day we receive the most “hits” (how often somebody visits our website), as well as where these hits come from, including those from outside of North America! There is also a point where we can find out what articles are being read (or at least glanced at,) and how often. These factors are used so we can service our audience in the best ways and means–all in the name of “science”–or something to that effect!

Upon obtaining our report for the first quarter of the 2019 calendar year (January-March, ’19 to be exact), we have found out that our theater reviews receive the most hits each and every week. Our front end articles–the article that begins our weekly editions, receive lesser amounts of hits per issue. Depending on the topic discussed within that front end article in question, those hits vary wildly. Some front end articles receive a lot of hits, while a few received very little. One issue that was released during this period received only seventeen hits as a whole, and has remained that way as of April 23rd. We won’t necessarily say what specific edition we are speaking about, but you get the idea!

So in future editions of Accessibly Live Off-Line, if you the readers do not find a front-end article, that doesn’t mean that an error has occurred. This just means that we didn’t place one in that specific edition. We will have the news and reviews placed within the edition, but since you audience members have the deep desire to read the reviews, then so be it! There won’t be any fear of missing out aka FOMO, so now you know!

And here is a disclaimer. Whenever we write a review of something or another, be it a review for a play, movie, TV program, or some other source that would fit the guidelines and standards to ALOL, please keep in mind that there reviews are not published in exchange for any monitory amount. In other words, no person and/or no other outside source is paying this writer to rant and rave about the media element being reviewed. Yes, we do obtain the media-based application for free. However, that is the only element we receive in exchange for a review. This way, we can become honest within the review.

If there is a media work we don’t care much about, then we can honestly state that “it stinks!” On the other hand, if we feel that the production is the best that we have seen of its kind, we will note that as well! Again, nobody is greasing our palms to mention that this movie/TV show/theater production/book title is indeed “the bomb!” Unless of course, it IS “a bomb”, which is the same method to state that “it stinks!” Does all of this make any sense?

So with all of these words being said and done, we will continue to what we have been doing for all of these days and times. And just as long as we can crunch the numbers as well as keeping up with the stiff competition, then we will be OK! It’s just another day in the ol’ neighborhood!
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NEWS AND REVIEWS

The Colony Theatre in Burbank presents as their guest production, OLD JEWS TELLING JOKES, a humor filled cabaret program featuring a troupe of performs that tells legacy jokes going back to the days of your grandparents and then some!

In this show, a group of five players consisting of Julien Ari as “Rueben”, Arthur S. Brown as “Morty”, Wendy Hammers as “Bunny”, Danielle Kay as “Debbi”, and Jeffrey Lesser as “Nathan” come out to bring back a series of wisecracks, gags, monologues, and one-liners that are classics with a bit of a Jewish twist added for flavor! Some of the gags are funny, a few are groaners, and some are a bit on the “blue” side! Whatever they may be, these comical interludes have been around for years. Some one may have heard for the first time, or the first time this week!

The show itself is one part vaudeville, one part burlesque, and one part old Catskills where many a comic did their shtick making their audience laugh while they spend their summers at a resort in upstate New York as they beat the heat! And with such a stage show, their are even a few musical interludes as well! Jeffery Lesser as “Nathan” provides some of the music presented as he performs on the keyboards, giving this talented cast (if not well seasoned) a chance to shine on as they go about bringing back the humor set from one era to the next!

Daniel Okrent & Peter Gethers conceived this program that borrows many of the farces that have been around for more years than one could count. But that is what the “plot” of this showcase consists of. The performers may not be that old, but they do tell the jokes–and ones that are funny as that!

Directed by Jeremy Quinn, OLD JEWS TELLING JOKES is a snappy ninety minutes full of fun and mirth that one can shake a shtick at! (Pun indented!) And one doesn’t have to be Jewish to enjoy this presentation. (It helps a bit since some yiddish is thrown into the dialogue!) Whatever the case, one will laugh their tokhes off with some of these classics! Just try to remember a few of ‘em as you gather around the water cooler at the office! And retell those proper gags for the appropriate company!

OLD JEWS TELLING JOKES, performs at The Colony Theatre, 555 North Third Street, Burbank, until June 16th. Showtimes are Thursday, Friday, and Saturday nights at 8:00 PM, Sunday evenings at 7:00 PM, with matinees Thursday, Saturday, and Sunday afternoons at 3:00 PM. For tickets and for further details, call 855-HIT SHOW (855-448-7469) or via online at http://www.PlayhouseInfo.com
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THE END OF SEX (or What’s Wrong With Mom), Gay Walch’s comedy about a mature woman’s decision to give up sex, and the people within her domestic domain that is affected by this choosing, makes its world premier at Burbank’s Victory Theatre.

Sara Botsford and Tom Ormeny are Nancy and Ken, a well seasoned couple that has been married for some thirty-six years. Ken desires to commemorate her birthday by giving her a bouquet of flowers and taking her out to dinner with their millennial aged daughter Heather (Austin Highsmith) and son-in-law Ryan (Chad Coe). Nancy makes an announcement that she desires to cease having sex. She just wants to be respected, but nothing more beyond anything of a sexual nature. Ken, still maintaining his ability partaking in this activity by taking little blue colored pills, isn’t too pleased with her decision. Neither is Heather and Ryan, as they are attempting to get their own careers and lives in check. This cascades between where the women involved stand within their fields, how the men reacts to this rather trying course of action, and to where one may be placed in terms of personal intimacy, or lack thereof.

This new play by Gay Walch focuses upon three generations of people on where a woman of her demographic remains as valid and where the men of similar beings hold on. Although sex is the focus, it’s not so much on experiencing sex, but how one finds it appropriate based upon issues from the viewpoint to the beings, and what others may find challenging. The entire storyline takes place within a twenty-four hour period, meaning that every person involved because part of the situation right away, and doesn’t necessarily conclude with a so-called happy, if not satisfying, conclusion.

As to the cast, Sara Botsford as Nancy and Tom Ormeny as Ken are the real leads in this stage piece. They are not leading because of seniority, but they play the characters that show off the most frustration. The second tier cast members in terms of age, Austin Highsmith and Chad Coe as Heather and Ryan are just as appealing, especially Coe as he sports a “cool” attitude almost akin to a James Dean-type. He takes everyone in more of a relaxed stance, but not taking a “chill-pill” to, well…chill! And rounding out the cast is Lianna Liew as Sierra, a “Gen-Y”-aged woman who served as the new generation to the frustrations (if not hang-ups) of the title physical emotion i.e. “sex”!

Along with the members of the cast on stage emoting the storyline under the stage direction of Marie Gobetti, co-artistic director of The Victory Theatre along with Tom Ormeny who appears as Ken, Evan Bartoletti’s set design of Nancy and Ken’s dwelling space resembles a cozy unit that is of cosmopolitan mid-century modern, complete with smart looking furnishings that shows that the well seasoned couple knows how to live in their progressive and personal universe.

THE END OF SEX holds to some genuine laughs, even if the subject in hand is only comical to those that maintain something of a sex life. Even for those that don’t see any end to the title emotion, it still packs a punch and can really “get it up”!

THE END OF SEX (or What’s Wrong With Mom), performs at The Victory Theatre mainstage, 3326 West Victory Blvd., one block east of Hollywood Way, Burbank, until June 2nd. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday afternoons at 4:00 PM. For ticket reservations and for more information, call (818) 841-5421, or via online at http://www.TheVictoryTheatreCentre.org
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The Los Angeles Woman’s Theatre Festival presents HOT OFF THE PRESS, a performance consisting of a collection of shorter solo stage readings that speak upon a variety of topics, focusing upon personal issues.

The performances will consist of Yvette Cason’s Real As It Can Be, where she converses on her life journey as being a musician, actor, and as a parent whose kids have “grown and flown”. The second show is Alma Collins’ Strong As Honey, that describes her connection between her mother and grandmother and how her duties as caretaker changed her own life. Winding up this presentation is Self-ish!, written and performed by Roxana Ortega where as an actor, she chooses either taking on a performing gig of a lifetime, or to become a caretaker for her mother suffering with Alzheimer’s.

Jessica Lynn Johnson and Juliette Jeffers will serve as hosts for the evening that showcases the writing and performing talents of this trio of woman that will speak on life’s own stories that make up part of the domestic landscape.

HOT OFF THE PRESS will be presented at The Whitefire Theatre in Sherman Oaks for one performance only, Thursday, May 23rd, at 7:30 PM. The Whitefire Theatre is located at 13500 Ventura Blvd., (at Sunnyslope), Sherman Oaks. For tickets and for more details, call (818) 760-0408. Online ticketing is available through Pay Pal at http://www.lawtf.org.

The Los Angeles Woman’s Theatre Festival can also be accessed through their places in social media via Twitter https://twitter.com/lawtf and Facebook
https://www.facebook.com/LosAngelesWomensTheatreFestival
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

Details@AccessiblyLiveOffLine.com
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Details@LinearCycleProductions.com
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#AccessiblyLiveOffLine

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ACCESSIBLY LIVE OFF-LINE (C) 2019 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!

DESERT ISLAND TV

For some time now, many of those that write about the state of what’s known as “television” claim that this period is one of a series of “second comings” for this form of visual communication to ever come around. Beginning from the era when video content was delivered through a process of receiving signals through a TV antenna, television has become a way of life. And what better way to have that way of life mean something is to view content that is worth its time and place on a video screen, no matter what that screen is attached to.

As of this writing, streaming TV is the new way to go. This form of video is sent through an internet based connection, either through a hard line or delivered via WiFi. It’s former dominance method, cable TV, a method where its signal is carried through a coax cable, also provides content to its satisfied audience. And that for noted over-the-air variety that’s been around since the late 2000s through digital signals (based upon the method using anilog signals) also has its appeal, though it became rather tired of late.

But if one had the choice on only keep a few sources of video content through a specific “channel”, then the choice pick would speak for itself, based upon the findings of the media research firm Hub Entertainment Research.

According to their recent findings when asked through a poll stating that if one could only keep a limited number of services, which would be the pick? The survey says that Netflix, perhaps the be-all-to-end-all video channel, came in first place with 44% of those stating that they could not live without! The second channel in mind? CBS with 29%. Next was NBC and ABC, tied with 28% ESPN cane next at 24%.

As to demographics in terms of age, then the channel choices take a divide. Starting out with those aged 18 through 34–a mix of Millenniums and Gen-Zers, Netflix is the keeper channel, coming in with 59%. Hulu came in at second place at 26%, followed by ESPN with 24%; HBO at 17%; and Amazon Prime at 17%.

For those 35 and up (Gen-X and the Baby Boomers), CBS received the best results, at 41%. This was followed by ABC and NBC, tied at 37% each. Netflix ranked in at 35%, followed by Fox with 29%.

The research presented through Hub was based upon an on-line poll received from 1,692 video content consumers in the USA with access to broadband internet service that watch at least one hour of TV per week as of January 2019.

So what does all of this mean? It means that taking views to video content by means of a traditional TV set or through an electronic device that sports a video screen is still the preferred way to entertain and amuse themselves. The choice of what to watch and when and how remains in this greatest form. And thanks to the new kid on the block, streaming, one can watch a vast collection of video titles, especially with original content. Although in the same poll, nearly 70% of the 18-34 bunch state it means a lot (22%) or a little (47%) in terms of being more interested in viewing a title, original content remains the hit of the pick!

However, Netflix, as well as its other choices, Hulu, Amazon Prime, CBS All-Access, as well as YouTube Premium, gives an opportunity for those video fans to see TV shows as well as made-for-streaming features that can’t be found no matter where and what. And by the end of this year, there will be at least two others to crowd the broadband space, Apple TV and Disney + will become ready to take the challenge.

Perhaps the biggest threat to them all is the latter title, Disney +. Disney recently announced that beginning in November, one can subscribe to that channel at $6.99 per month, or at $70.00 per year. What will one receive? As of this writing, it will consist of the entire Disney library (or close to it), the entire Pixar animation collection, everything from Lucasfilms (Star Wars, The Indiana Jones features, etc.) and everything from Marvel Studios. Marvel Studios has just about every Marvel Comics Group super hero ever created with the exception of Spider-Man as Spidy is “owned” by Sony Studios! Although Disney states that their entire library will become available, it isn’t quite known how much of that library will be offered, and if it includes the material created for TV. (The Mouse Factory, The Mickey Mouse Club c.1955, The “New” Mickey Mouse Club c.1977, Disneyland/Walt Disney Presents/Walt Disney’s Wonderful World of Color/The Wonderful World of Disney/Disney’s Wonderful World/Walt Disney, etc.) And we won’t get started on what exists from the movie and TV libraries from Twentieth Century Fox!

Apple, on the other hand, also has a few original content choices in mind, coming in from the likes of Oprah and Steve Spielberg. As to what programming as how much it’s going to cost? It’s presently in a wait-and-see mode!

So there you have it folks! Now one has more that those 57 video channels to look at, and perhaps there is still nothing on! Then again, one can always read a book…!
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NEWS AND REVIEWS

Performing for a limited run at the Hudson Backstage Theater is Laura Eason’s SEX WITH STRANGERS, a comedy about Ethan (Kitt Walker Johannson) a Millennial aged man that authors a blog that speaks about sex, and Olivia (Julia Dosik) an eccentric novelist who is more of a seasoned age. As these two meet at a writer’s retreat, they hold the desires to what the other possesses, leading toward a unique relationship both as business and pleasure.

Directed by Alice Tuan, SEX WITH STRANGERS will perform for one weekend only, May 17th through the 19th, at the Hudson Backstage Theater, 6539 Santa Monica Blvd. (two blocks west of Wilcox), Hollywood. Showtimes are Friday and Saturday, May 17th and 18th at 8:00 PM, and Sunday, May 19th, at 3:00 PM.

For ticket reservations and for more information, call (323) 960-4443, or via online at http://www.onstage411.com/sexstrange
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

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ACCESSIBLY LIVE OFF-LINE (C) 2019 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!

-30-

SPRING BUST

Although the dates tend to change each year, many schools and related institutions take off for a week’s time. This period of vacation (if one desires to call this week a “vacation”), is usually called “Spring Break”. The reason behind this name is rather obvious. It’s a short period of time where for one week, the school or related application will pause its duties to take a break in the springtime.

The spring break season usually runs from late March through middle-late April, hovering around the time when Easter tends to fall. (Easter is one of those holidays that floats within a four week period, always falling on the first Sunday after the full moon usually between March 25th and April 24th). This year, Easter falls on April 21st, meaning that this very week could be set aside for that spring break many schools, etc. uses as their time for their students to enjoy the sights and sounds of the new and warmer season.

It’s been a tradition among young adults attending college to use this week not to bone up on studies, but to head off to traditional spring break settlements. Florida seems to be the get-go place in the USA, where many of the beach communities from Daytona Beach right down to good ol’ Ft. Lauderdale, the so-called ”birthplace” of the college based spring break getaway, take advantage in receiving these young tourists, assuming that they all behave themselves!

Over the years, other places captured the sense where spring break is the place to go. Padre Island, Texas has been a rather popular destination since it’s a lot cheaper (or was cheaper) that heading off to Florida. One may not be in a chose spot near the ocean, but one is close to Mexico where it always has an “anything goes” attitude. And many college aged people used alternative place to spend their time in the open, such as short trips abroad as many of these spring breakers are very savvy on where to go for the lowest rates possible, thanks to a vast selection of phone apps on getting the best deals around!

However, there has been a verge of sorts where people who have access to a spring break have nowhere to go! It’s not because they can’t find a location to enjoy a seven or so day period outside of their campus. It’s because they hold no desire to go anywhere!

Although this writer can’t speak for any person tied to an institution that uses a spring break holiday in this day and age, when yours truly was in a college-type setting, I never had any desire nor interested to go off for a weeks time to beachcomb during the daylight hours and pub crawl after the sun had set. In other words, I never went on a traditional “spring break”.

There were many reasons why I never spent any time to party with others of my peers. Perhaps the most obvious one was the fact that I couldn’t afford to go anywhere! Surviving on limited funds, I didn’t budget myself to take upon a package tour in heading off to Florida, south Texas, or any other location that was a designated hot spot for spring break. However, some people I once knew did take off for that week’s time.

These people were some roommates of mine living in the apartment complex that I shared in my early college days, There were the four of us–three guys and myself! The trio of guys knew of each other for some time, meaning that they had some kind of brotherly togetherness with one another. I was the misfit. It appeared that they had a fourth person they knew and roomed with. However, at the end of the first semester, he transferred to another school that was more suited for his major. (Forestry, if memory serves.) I was his substitute. Since was was the unofficial “odd man out”, I didn’t have the same bonding with the three other guys, although they did tolerate with me since I was the only one of the bunch that paid all of my share of household expenses in full and on time!

These three guys were planning on another spring break session. (It would be their third and final one as two of these guys were going to graduate, and the other was planning to move in with his girlfriend for the remainder of his school year.) Anyway, that year was for them to head off to a resort off Padre Island. For a week’s time, they were going to stay in some rinky-dink resort while heading off to the beach in the day, and to do some drinking at night. As of course, also hoping to get “lucky” with some co-eds! Although they each had girlfriends of their own, they would still take advantage of what they can find. Their thoughts on this was if they can get away with what they can do, why not? (Do I have to inform you readers that this occurred long before modern technology took its grasp?)

Anyway, I didn’t know about this spring break getaway until three weeks before the spring break period. It seems that these guys were already planning to go long beforehand. They did had room for their other that I replaced, but they didn’t bother to save a spot for me, let alone even offer this opportunity to me! It felt that it was going to be the three of them, and that was it!

At first, I was rather surprised in their decision. Then again, I wasn’t part of their tribe. I was the replacement that just lived with them all. And since these guys were going to break up at the end of the school year, this was going to be their last hurrah before they all headed out into the real world. And I wasn’t part of that social circle.

So on the Friday before the spring break week, they all took off to take a road trip with some person that had access to a van, and drive the 1000 or so miles to south Texas. I had to defend for myself. Since I had nowhere to go, I just took this time as an opportunity to have the entire joint to myself, doing whatever I darned well pleased. I could have even invited anyone I wanted. Yet alas, there wasn’t anyone I knew to invite. So much for hosting secret parties.

So how was these guys’ spring break in Padre Island? From what I can recall, they did do the typical spring break antics. They spent a day in Mexico where they got drunk. Somebody broke into the room they were staying where much of their stuff got ransacked. And yes, they did get lucky with some co-eds from Macalaster College. Outside of that, that is all they told me!

And what did I do for that week’s time? I hung around the student center taking advantage on how empty is was. I could have gone somewhere, but I didn’t have access to a car. In other words, it was an amusing time, but nothing much to write home about!

So in the mean time, enjoy your spring break, assuming you are getting one this year. Even if you have long departed from the hallowed halls of ivy, (assuming you did go to college), there’s always something to do around this time. Then again, we’re always busy with something else as that stands! (See Vol. 24. No. 14 of this here news service for complete details!)
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NEWS AND REVIEWS

No reviews this issue, but stay tuned for more of the news and details you look for in each edition of Accessibly Live Off-Line! See you then!!
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

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ACCESSIBLY LIVE OFF-LINE (C) 2019 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!

KEEPING BUSY

There was once a character performer named Billy De Wolfe who, among his many routines, would say in a rather hissy tone, “Can’t you see I’m always bus-y, bus-y, BUS-Y!”, with a strong emphasis on the word “busy”.

Although that line was always stated as comic relief, it seems that many of the domestic population nowadays always keep their lives into a state of busyness. When two people would meet, one would ask the other how they were doing. The other person would reply in various methods, “I’m keeping busy”. Sometimes they would add a little bit of flavor to their reply that can range from “I’m crazy busy!” to “I’m so busy, I don’t have time to take a s#it!”

There is nothing wrong by staying busy. In fact, many folks tend to say their being busy by keeping it as a badge of honor. They want to appear that they have so many things going on in their lives. These things that prevent them from staying idle range from responsibilities from their job, their family, their social life, and all points that keep these ever moving folks on their toes. And many of these same folks, especially those that don this invisible so-called badge of honor enjoy telling others on how full their lives are.

Some of these people that receive this information find this news rather amusing, while other don’t really seem to care. After all, if somebody has a whole lot of things to do at the office–where ever that office space tends to be, then why bother to inform anyone else that they have a lot of slogging to do at their jobs–whatever that slogging consists of!

It is rather understandable that in this same domestic society, people from their time of birth well into adulthood, are always active in something of another. Within the last thirty or so years, parents of kids have arranged their little one with many activities and events. Post-modern mothers (or those that act as mother figures), start off by arranging “playdates” for their kids by placing them in a setting where other kid of their same age play with one another. As they get older, there is their schooling set away from their homestead if not at their home. This blends in any pre- and post-school activities, such as playing sports or sport-type meetups, events related to the performing arts (dancing, acting, singing, etc.), social events that cater to a specific topic or subject (scouting, events at a scriptural center, etc.).

This moves toward their tweens, teens, and even young(er) adult phases as well. It continues toward their salary based jobs and careers, domestic family environments, and so on. In other words, parent figures keep their kids always busy, and the kids themselves keep on their business by arranging events on their own as they progress in life.

At the other end of the domestic life spectrum, many older folks aged 55 and up, don’t necessarily desire to keep on a traditional retirement. They want to work as long as they can get away of it. Some of these people do work as a necessity, while others do so to keep themselves within the loop of things as they enjoy what they do. And if they no longer can work in a company or operation where others exist on some kind of salary, they seek out in performing a career or related service on their own. It may not be a full time job per se, but it’s something that keeps them..well, busy!

Looking at the other side of the busy tracks, a few people have been admitting that they enjoy some time of being idle, where they can take out some time by just doing nothing! They would rather be relaxing by reading a book, watching TV, or just taking on the world through a de-stressed state as this method of living is the ideal choice for these folks. Some will use this same method of living as their badge of honor. A few, even through they enjoy this sense of non-busyness, won’t necessarily admit to anyone and everyone that they keep things in a slow state with the fear that being idle is at times linked as being lazy. Some will remain in their virtual closet for a while, only to later reemerge from stating that they have enough to do every day while keeping a sensible head to it all!

Life will continue, no matter what others are doing, or what others are not doing. Staying active all the time has its moments as well as its dangers and defaults. The same can go for being too easy. However, it’s been noted that as long as one is pleased with what they are doing or what they are not doing, then their goals are completed.

Now if you will excuse this writer, I must now wash the dishes, feed that cat, mow the lawn and stuff like that. Give us smoking, never chew, pay the bills before their due….
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NEWS AND REVIEWS

The Sierre Madre Playhouse presents for a limited run, DORIS AND ME, Scott Dreier’s musical presentation on his personal desire for one of filmdom’s biggest stars who could sing, act, and charm–almost all at the same time!

In this cabaret program, Scott tells his audience on how he became mesmerized with Doris Day, a figure who could light up the big screen with her personality that made her the classic “girl next door” type that didn’t have a personna that was anything Hollywood-esque to her, but could sing her way with appeal. Scott lets the audience know these facts through his distinctive viewpoint. He emotes on how he first discovered her through viewings of her older movies aired on local TV, how he parallels his life to hers by both starting their performing career in their teens, and how he was able to meet her in person, a feat that is rare into itself! (Doris, involved in her animal rescue efforts, tends to shun away from the public eye in her recent years, even though she is still admired by her fans worldwide!)

But Scott’s performance isn’t just limited to his gushing out his heart and soul for a show-biz type from another era to an audience. With the on-stage musical backup featuring Andy Langham as musical director performing on piano with Gary Wicks on bass, Scott has the opportunity to sing a selection of Doris’ bigger and even lessor hits from her movies and record albums. His presentation holds plenty of that same charm, grace, heart, and soul. Not a funky soul, but a soul that possesses energy, vitality, and sprit. There are at times where Scott, as joyful as he could be through his storytelling and vocal talents, even hides a tear in his eye, eager to tell his audience (and the world perhaps) on a woman he loves. His crush on Doris is more of a “squish” than anything else!

Richard Israel directs this program that keeps the same dynamism as Scott projects on the stage he shares with his intimate orchestra.

As with many of the greats known within the media, Doris Day was indeed one of a kind. And in this day and age, there will be nobody else that will even come as close as she was. That is a good thing of sorts, since Scott will have more time to devote his performance to a woman that even far away from the glitz and glimmer, is the same person in real life as she was in “reel” life. Maybe they don’t make ‘em as they used to, but DORIS AND ME still proves that charisma never goes out of style. Her human fans and her furry ones will all agree!

DORIS AND ME, presented by and performs at The Sierre Madre Playhouse, 87 West Sierre Madre Blvd., Sierre Madre, until April 14th. Performances take place on Friday, April 13th at 8:00 PM, and Sunday, April 14th at 2:30 PM. For reservations, call (626) 355-4318, or online at http://www.SierreMadrePlayhouse.org
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Performing at The Hudson Theatre’s Mainstage is LES MIZ AND FRIENDS A PUPPET PARODY, a take-off of one of literature’s greatest novels and as one of musical theater’s greatest productions, performed by a cast of humans and puppets!

Of course, there is the plot of Victor Hugo’s very long novel Les Miserables that takes place years after the French revolution of the 18th century, as well as the late 20th century’s stage musical of the same name as created by Alain Boublil and Claude-Michel Schonburg. This time around, this 1400 page (give or take) novel, as well as the three or so hour length musical has been reduced to 120 minutes (not counting the standard 15 minute intermission) as done on a lot smaller stage. Within the mix of human performers are a bevy of puppets that perform the various characters found in the novel and musical! A few of the original musical numbers are sung (with a bit of creative license added to the mix), but in general, it’s all presented as a parody, meaning it’s done for laughs! The cast of players, consisting of Nathan Makaryk, Genevive, Christopher Robert Smith, Hailey Tweter, Gabrielle Jackson, Jaycob Hunter, Carter Michael, Kelly Rogers, and Kevin Garcia, do their damnedest to not only attempt to keep the spirit of the musical version in check, but also to add to the flavor of how long and confusing the plot is while all of the puppets make it all worth its while!

Geneviève Flati and Nathan Makaryk writes and directs this program as a stage piece that is very witty and very original! When the puppets appear, they are manipulated by some of the performers donning black. (In theater etiquette, anyone wearing full black means “Don’t Look At Us Because We Are Not Supposed To Be Seen”-or something to that effect!) The puppets themselves resemble puppetry as once created by a Mr. Henson. They are colorful, funny looking (is there such a thing as a serious looking puppet?), and even “cute”! However, these puppets act rather “blue”, meaning they are prone to cuss on occasion. These elements prove that this show is NOT for the kiddies! Kids won’t understand the storyline, and even some adults don’t get it either! Chris Patstone, billed as the Assistant Prop & Puppet Maintenance person, maintained some lavish puppets that make ‘em the real stars of this show! As to the props? The barricade wall (remember the barricade wall in the musical?) consists of a rolling clothing rack with some flatten out cardboard box pieces and colored foam cylinder sticks all held together up with brown packing tape. This should give the audience an ideal on how much of a satire this show is. (Is the mention to the barricade wall a spoiler alert?)

Devin Norris arranges the transcribed music, billing this program as a musical. And yes, the puppets do sing with a little assistance to those controlling the puppets while donning black!

Written and directed by Geneviève Flati and Nathan Makaryk, LES MIZ AND FRIENDS is indeed a real hoot to experience! As advised beforehand, this ain’t no kid show. It’s for the grown-ups! And it’s never too soon (or too late) to actually read the novel. It just might even make sense!!

LES MIZ AND FRIENDS: A PUPPET PARODY, performs at The Hudson Theatre Mainstage, 6539 Santa Monica Blvd. (one block west of Wilcox), Hollywood, until May 11th. Showtimes are Friday and Saturday nights at 8:00 PM, with Saturday matinees at 3:00 PM. Ticket reservations and more information can be obtained online at https://www.lesmizandfriends.com

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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

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ACCESSIBLY LIVE OFF-LINE (C) 2019 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!

CAMPUS CAPERS

Over the last few weeks, there has been a lot of say so going on regarding to the college admission scandals of late. Social media has been harping on these antics since the news broke out. Folks that have an association with the universities involved within the hurlyburly were confused, disappointed, and even angry over the fact that these same folks worked their all-in-all in order to attend, or to just be considered for admission. A few that formed a legacy with the schools noted on these black lists have announced that they no longer want to do anything with these same schools they attended based on their own merit by performing such tasks from removing themselves from their alumni association, cutting off ties in terms of donations to the school’s specific department(s), or to even getting rid of the swag they possessed that showed they still has the pride of attending, from simple window stickers affixed on their vehicles, to clothing decked out with school logos and color schemes.

And for those that had the thought of enrolling to these schools? A few have changed their minds. One person that this writer holds a vague acquaintance with was in the final stages of enrolling their child as a freshmen to one of these schools. Now they are at the last moment, enrolling their kid into a smaller yet well respected college located not so far off into the distance.

This writer started to write a piece where another acquaintance, somebody that I know more personally, started off in getting their soon to be turning eighteen year old daughter (a senior in high school) for college. They also have a son that is about to graduate from the 8th grade this spring. Although college is some four or so years off, they through that they would jump the gun and plan for their son as future college bound material. As one can guess, these post-modern parents are doing what their parents didn’t do; Plan ahead for a higher education for their kids as their parents (their kids’ grandparents) never completed a formal education beyond receiving a lowly high school diploma.

Because of the buzz going around (and still very active as of this writing), yours truly thought to take this story out of the purgatory heap (in apposed to the trash pile as it’s always great to keep an article idea at bay since one will never know then that same idea may come in handy), and bring this little “slice ‘o life” story back into the limelight.

So settle back and read on about how a parent (or parents since this story is about the mom doing the work rather than the father figure, although it’s going to be assumed that he is taking some kind of part of this ritual), is doing their damnedest in getting their kid off to some school that is far beyond the high school level.

In order to continue this story, we’ll have to change the names around here since this newsletter doesn’t want to influence anyone or any place in order to get their kids into the college(es) of choice. After all, we still have to protect our asses!

At the start of the school year last September, Gloria (not her real name–remember?) has a daughter Gloria Jr. (again, a fake-o name) that is starting off her senior year at a community high school. Since her days as a junior, her mom was working with her on what colleges she wanted to attend. Gloria Jr. wasn’t too sure on what she wanted to do for herself in terms of a college major. Gloria Jr. and Sr. received all of the information about higher education schools located within a thousand mile radius of Los Angeles proper, limited themselves to mostly schooled located in west coast states. They did the usually investigations, from gawking through the school’s websites, to even taking a few in-person visits to many of these schools in order for Gloria Jr. to get a taste of what life was all about on campus.

Gloria Sr. attended a smaller liberal arts school located within the state of California. It wasn’t a so-called “big deal” school, but it was a place where one can receive a respected education. This school was indeed on the hit list of places where Gloria Jr. could attend.

Since the first month of her senior years, the challenge began. Applications were received and filled out. Test programs that were known by their initials rather than by names were conducted in order to enhance Gloria Jr.’s sense of ability, as well as holding on to those test scores that can bring her into a more prestige standing in terms of admission. It was a full time task where Gloria Jr. would hold her place at a school of choosing once she would receive her high school diploma.

To make a very longer story much shorter, the number of colleges were whittled down to a few. Most of these schools were now located within a 500 mile radius. A few were “brand names” (i.e. schools that many have heard of) while a few were smaller liberal arts colleges respected within their own right, including Gloria Sr’s alma mater.

As of April 1st, the number of chosen schools were now whittled down to about eight. One was in the ivy league, while the rest were within the smaller ranges. With the exception of two, every one of these school’s admission departments were interested in Gloria Jr. becoming part of the incoming freshman class. During her high school’s spring break period (week of April 15th-19th), both Gloria Jr. and Sr. will be making a barnstorming trip to a few of these schools as on-campus visits.

Yours truly doesn’t have to note that Gloria Jr. will be enrolling on her own merit. She did score high on the SATs, ACTs, and other tests never mentioned. (To me anyway!) However, it appears that Gloria Jr. will be a shoe-in to a number of these colleges, including the small liberal arts college that her mom attended not too many years beforehand.

In this domestic society, where one attends school makes up part of how one discovers themselves in terms of knowing what’s going on, as well as being part of the passion and nostalgia of school antics as higher learning or learning while high! Many feature films and television programs used school settings as part of the themes and plot points. (One of the longer running places of media, Archie, based on a comic strip created by Bob Montana c.1941 as a knock off to Henry Aldrich, is still alive as known as current TV series Riverdale.) Ditto for college life as well. (Too many of those titles to list!) But getting into a school–any school–is best based on one’s own capacity. It’s hard enough to just get by as it stands. And when one attends a school of higher learning, one can get that career off to a decent start. After all, somebody’s going to have to pay that student loan debt. However, that issue is for another ALOL article!

Stay tuned!
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NEWS AND REVIEWS

The Hudson Guild Theatre presents Debrianna Mansini’s solo show THE MEATBALL CHRONICLES, a saga about a dysfunctional family and the food that tied the binds.

Debrianna tells the true tales about her family. Growing up in the wilds of Connecticut, she emotes about her mother who gave birth to three of her four sisters before she reached the age of twenty-one as a “child bride”. She also adds about how she related to her mother, her father(s), her sister siblings, her boyfriends, and others that came in and out of her life. One element that made it worth its while was the savory dishes her mother created. Coming from Italian roots, she acquaints her audience that good things came from her kitchen, from panettone, meatballs, and more! She also sneaks in episodes from the time she has to make secret phone calls to her boyfriend, how her mother made an attempt to meet her favorite singer Engelbert Humperdinck with the kids in tow, as well as how those mouthwatering dishes removed some of the bitterness that reined within her homestead.

This single act program written and performed by Debrianna Mansini, takes upon a charming viewpoint on a woman that grew up in a crowded house that was blessed with a selection of meals proving that the family never went hungry. She speaks with a vocal tone that though there were rough patches experienced in her earlier days, it was not through sorrow, tears, anger, or regret. It was through humor, togetherness, and most important of all, it was through food! Not any type of food mind you, but through genuine Italian meals! (No cardboard pizza or thin spaghetti topped with ketchup!) For ninety minutes, Debrianna will guide you through a journey that is funny, somber, and of course, delicious!

Although Debrianna is alone on stage, she does receive some assistance through visual illustration as created by David Forlano. Projected on a backdrop at the rear of the stage area are a selection of still and moving imagery that embellishes the sagas she details, with plenty of close up of hands kneading dough through the creation of those meals she speaks about that are a feast to themselves.

Tanya Taylor Rubinstein directs this show, along with guest director Laura Gardner, that enhances Debrianna’s charm and grace. THE MEATBALL CHRONICLES is served piping hot! Just make sure to save some room for desert!

THE MEATBALL CHRONICLES, presented by Kuker and Lee Productions, and performs at The Hudson Theatre Theatre, 6539 Santa Monica Blvd. (one block west of Wilcox), Hollywood, until April 14th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday matinees at 3:00 PM. For ticket reservations and for more information, call (323) 960-7788, or via online at https://www.onstage411.com/meatball
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DUMBO (Disney) stars Danny DeVito as Max Medici, owner and operator of the Meddici Brothers Circus, a rag-tag operation that makes its appearances performing its shows barnstorming through small towns throughout the southern part of the USA. Max doesn’t have a bother, but thinks if Ringing can add a sibling to its name, so can he! It’s the early 20th century, and Max and his troupe of the usual circus stock, set up camp outside of Joplin, Missouri. He purchases a female elephant named “Jumbo” that is with child–an elephant child! Once it become born, he enlists his onetime circus star Holt Farrier (Colin Farrell) and his two kids Milly (Nico Parker) and Joe (Finley Hobbins) to care of the newborn elephant. (Holt was once a trick horse rider, but his wife left him while he was fighting in “The Great War” in France.) As Milly and Joe nurse this new stock, they discover that the baby elephant has big ears. What is even special is when the elephant holds a feather with its trunk, it can fly! Max, seeing this as an opportunity, adds the elephant named “Jumbo Jr.” as part of the circus act. When a sign advertising this new sensation falls apart with a letter “D” replaying the “J”, it becomes “Dumbo”. Before long, folks are flocking to Max’s circus. This flying elephant brings interest to persuasive carnival entrepreneur V.A. Vandevere (Michael Keaton), who makes an offer to Max in forming a partnership through his traveling and rather abundant entertainment venture, Dreamland. Its star is an aerial artist, Colette Marchant (Eva Green). However, under all of its shiny and over-the-(big) top veneer, this Dreamland has its own dark secrets that Max and his company soon discover.

This feature is another attempt for The Walt Disney Company to remake (or “re- imagine” in movie speak) many of its properties that make this studio famous in the first place. This time, it takes its third animated feature (and one of its titles that has a shorter running time) and bloats it into a full length non-cartoon film that is as expected, overloaded with GCI special effects! Danny Devito as Max is ideal for his role, taking on the persona he’s best to play. He’s both comical and creepy. Not evil or something out of a horror film, but holds a bit of scariness to him. Colin Farrell as Holt Farrier is the leading man character that is still good looking, through he’s been faded into the limelight, something that holds an appeal. The pair of kids, Milly and Joe as played by Nico Parker and Finley Hobbins, are present to not only make this movie more family friendly, but add a sense of independence to them that is fit for a post modern audience. (Milly even holds an interest in science, something that is being pushed to girls in this day and age thanks to STEM-related educational aspects!) Michael Keaton as V.A. Vandevere is the cartoonish villain that holds a sense of capitalistic sin in his performance. Eva Green as Colette Marchant is the elegant yet mysterious figure that has a sense of beauty and sophistication, yet knows what is behind the Dreamland she performs in. These characters as portrayed are amusing for what they are, but still have that “cartoon”-esque feel for them all!

And speaking of cartoons, there are no traditional cartoon images found within this feature, but plenty (and we mean plenty) of special effects are indeed present. (We won’t be listing the entire special effects team here by name, but there are lots of them available!) It will be stated that Tim Burton, who has been a mainstay at Disney since the 1990’s, does his director thing to bring this movie as that same over the big top sensation that he is best known for!

There are a few things changes presented from the original cartoon. There is no “Timothy Q. Mouse” character present (although Molly and Joe do have a pet mouse within their mists), the “Pink Elephants” are formed through soap bubbles rather than cartoon “D.T.s”, and there are no crows found where in the original cartoon, they hold a character sense that they could be played as “colored”–five years before Disney’s release of the beloved “Song of the South” that might (and we do mean “might”) be available to view on the forthcoming Disney + streaming service!

DUMBO is a movie that will please those that enjoy a good Danny Devito feature, or one that holds nostalgia to many of the Disney animated classics. Then again, the summer movie season is just around the corner, and this feature will give one an idea on what to expect to play in the multiplexes between now through the Labor Day weekend. This title will prove that people will still get off of their video screens, see a movie in a real movie theater, and pay for the privilege!

DUMBO is rated “PG” for some scary scenes and mild cussing that is suitable for TV. Now appearing in multiplexes nationwide.
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

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AccessiblyLiveOffLine@gmail.com
Details@LinearCycleProductions.com
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ACCESSIBLY LIVE OFF-LINE (C) 2019 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!

THE NEW RADIO

According to a report filed by the marketing research firm Edison Research, a little over one half of those residing in the USA has listed to a podcast, as noted in Edison’s 2019 Infinite Dial study.

The document noted that some 51% of Americans (around 144 million people) over the age of twelve has tuned into a podcast found within cyberspace that deals in various topics and subjects. (Last year, some 44% tuned into a podcast). And nearly one third of the 51% tune in to a podcast on a monthly basis. The report also notes that 70% are familiar to what a podcast actually is.

The information was based upon research conducted by Edison Research since 1998, long before the term “podcast” was actually coined and established, meaning that a lot has changed thanks to all internet based application created since the turn of the 21st century.

Complete details on the 2019 Infinate Dial report can be found through the link https://www.edisonresearch.com/infinite-dial-2019/

For those that may not be within the 70% of familiarity, a “Podcast” is basically a radio show that isn’t heard nor found on over-the-air radio. It usually consists of a person or series of people taking about a subject on hand covering nearly any topic manageable. It’s somewhat in the same style of a classic radio talk program where there can be a moderator and a second person or persons as the “guests”. A number of these podcasts may have commercial sponsorships as an over-the-air radio show could have, but most are commercial free.

The length of these programs can also vary, from as little as a five minute running time or for a number of hours per episode, although the traditional 30 and 60 minute length is the set standard.

Although many are just limited to voice, a few feature music from the classic radio DJ’s playing records of a specific musical genre, to a program that speak about a music format with the appropriate guests that deal with the musical topics on hand.

The reason why these shows are not called “radio shows” is the fact that they are not heard on the radio, but through various electronic devices that has an audio speaker and can reproduce sound. The “pod” in “podcast” comes from the iPod, Apple’s device where one can hold “a million songs in one’s pocket” as the late Steve Jobs stated when introducing this device to the world some fifteen years ago. (His actual quote about the million songs in a pocket is recited slightly out of context, but you get the idea!)

Although not many folks use a dedicated device for transmitting sounds, just about every smartphone in existence can be used as an “iPod” device, not necessarily limited to the iPhone brand. Anyone can gain access to a specific podcast obtained through a streaming element or for downloading to be heard at any given time.

As to what’s out there. There are literary millions of podcasts out there that cover any subject what one can muster up. Some programs are a lot better than others in terms to the knowledge of subject matter, consistency, and sound quality. The reason for this vast coverage is the fact that anyone can produce a podcast. Some present a program (or in many cases, a series of programs) that can be informative and entertaining. Others are good in content and not so much in sound quality. And there are others that shouldn’t be presenting a podcast, but do so just because they just feel that they can!

One of the most common questions we receive at Accessibly Live Off-Line is to why we don’t produce a podcast. Although we do have the knowledge of presenting a program for the ears that is worth its time for listening, we just don’t because we feel that our faithful readers would rather see our topics in hand as a text medium, rather than existing as a sound version. Although it does hold a convenience to hear a program rather than to read one, keeping the written word in check shows more importance than one with sounds. Granted, this writer’s voice can be heard by many for the first time, but the subjects found in each issue is presented as a quick and easy read, usually taking some ten or so minutes of time to consume. A podcast that runs around ten minutes each episode is also quick and easy, but should last longer. Rambling on longer as one should is one of the moist annoying elements found on a standard podcast. This ramblings for the sake of rambling is usually reserved for those people that present a podcast when they really have nothing to say. They feel that they can create a podcast, so they do!

And with recording devices and/or software programs to transcribe sounds become better is quality and cheaper to obtain, folks will continue to present an invisible radio program that isn’t found on the AM or FM bands. It’s there floating in cyberspace land, ready to be heard by just one person, or to reach the millions that may be out there!

Although the iPod device may no longer be the hot item as they once were, the podcasts will still continue. And as they used to say on the radio, tune in tomorrow, same time–same station!
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NEWS AND REVIEWS

The West Coast Jewish Theatre presents the west coast premier of Mark Leiren-Young’s BAR MITZVAH BOY, a dramity about a man who desires to have the bar mitzvah he never had some fifty plus years after the fact, and the rabbi that guide him on his journey to become a man long after the same fact.

Emmett Lee is Joey “Yosef” Brant. He’s an attorney that deals in divorce law. His grandson will soon have his bar mitzvah. However, Jory himself never had a bar mitzvah of his own due to circumstances encountered long ago. So he checks in at the same synagogue he attended those same years before. But things have changed over the period, discovering that the temple’s rabbi is a middled aged woman named Michael Levitz-Sharon (Pamela Heffler). Rabbi Michael has a family of her own, with an eleven year old daughter that will (hopefully) have her bat mitzvah. Although the rabbi doesn’t perform bar mitzvah guidance, she takes on Joey’s plea, even when he offers her an impressive tiding toward the synagogue. So the two start upon the process of Joey’s long awaited desires as the two embark on a spiritual journey that is more than just keeping with Jewish tradition.

This play written by Mark Leiren-Young is a tale where its plot point has a student figure who in this case is a man of a seasoned age, deals with a teacher, a woman that leads her congregation, and winds up switching roles. That is, the student becomes the teacher, and vice versa as the two learn from one another through their intertwined guidance. Pamela Heffler as Rabbi Michael performs her role as someone that is tomboy-esque, complete of having a name that is more masculine, yet she still keeps her feminine traits in gear playing a task of being a mother figure to her daughter and to Joey. R. Emmett Lee as Joey is a full grown adult that still has his boyish charms while remaining serious of completing his place within the Jewish traditions of having that bar mitzvah that could have wound up as long forgotten. These two character elements make this play as one that’s comical, tragic, charismatic, along with the notion that keeping one’s faith never goes out of style. Howard Teichman, artistic director for the West Coast Jewish Theatre, directs this single act play as one that would appeal to anyone that desires a story of keeping with tradition while staying with the times of now.

Also featured within the cast is Christine Torreele as the voice of Sheryl, Rabbi Michael’s unseen secretary as spoken through the temple’s intercom system.

One would suspect that the title BAR MITZVAH BOY would be more of a coming of age story through the persona of a young lad. Actually, it is a coming of age tale. However, the young lad isn’t as young as he used to be. And the rabbi is more than just a leader of an assembly of faith followers. This production would appeal to any theater attendee that enjoys an intense character study, no matter if one is Jewish, gentile, or some other else. It’s never too soon nor too late to keep the faith!

BAR MITZVAH BOY, presented by The West Coast Jewish Theatre, and performs at Miles Memorial Playhouse, 1130 Lincoln Blvd. (at Wilshire), Santa Monica, until May 12th. Showtimes are Thursday, Friday, and Saturday nights at 8:00 PM, and Sunday afternoons at 2:00 PM. For ticket reservations or for more details, call (323) 821-2449, or visit online at http://www.WCJT.org
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US (Universal) begins within a simple and somewhat innocent scene at a oceanside carnival during the spring of 1986. A ten year old girl, Andleide Wilson, is with her family. As dad plays some of the carnival games, she wanders to what appears to be a “funhouse”. Something within that building gives her a sense that she has met her own being. The time shifts some thirty plus years to the present day. Adelaide (Lupita Nyong’o) a woman now in her early 40‘s, is with her husband Gabe (Winston Duke) and their two kids Zora (Shahadi Wright Joseph) and Jason (Evan Alex) for a vacation stay at a summer home where Adelaide grew up in the same community. Late one evening as the family is settled inside their home, they encounter a strange group of beings that resembles a family, except they are donning red colored jumpsuits. At first, Gabe finds these strange people (along with the two others that appear to be young kids), as neighbors. They turn out as those that possess an evil presence, along with a nasty pair of shears! They are all out to kill this family. One element that these people contain–they are all mirror images of each Wilson family member, kids and all! But who are these people? Where did they come from? Why do they want to stalk the Wilsons? And perhaps the strangest element of them all that there are others just like them that don these red jumpsuits that serve as evil twins of others in the community that will kill!

This latest entry, written and directed by Jordan Peele, is a film that using an extensive blend of horror, psychological fear, along with plenty of doses of surrealism set within! This feature uses the aspect of what’s known as the doppelgänger, or the mysterious doubles of living people. These doppelgängers can be used as those that serve a purpose ranging from becoming every-so-good to holding a rage of downright evil. In this case, the latter emotion works out best. (It wouldn’t be much of an exciting story if these mysterious folks are there to serve a good cause!) There are plenty of twists and turns to this film that becomes the classic edge-or-your-seat thriller. In fact, this horror film could resemble a good Steven King story, except Peele is the one in charge here. Although there are acts of violence depicted, the blood and gore isn’t as intense as it could be. Its senses uses the art of deep-seated emotional fear, rather that spilling blood for the sake of cheap butchery!

Although the main cast featured are not necessarily an ensemble of well known names, the selling points of this film is the intense drama and senses of fear–an aspect that is rather tricky to work out well, and its writer/director/and producer Jordan Peele pulls it out! And there are other senses used that can be depicted in many ways. How this writer can present and interplant these hidden meanings aren’t spoiler alerts per se, since it’s a bit of a challenge to give one an alert to spoil outside of the fact that some minor characters that include friends of the Wilson family, Kitty and Josh Tyler (Elisabeth Moss and Tim Heidecker) and their twin teenaged daughters Becca and Lindsey (Cali Sheldon and Noelle Sheldon) meet their evil twins with murder on their agenda.

US has been received as a crowd pleasing movie, even with a theme of an R-rated horror film. But unlike other horror films that usually cater to a rather younger demographic that contain less creative chills, this title uses the said horror in a very artistic way. Of course, one will spend time trying to decipher many of its other elements of symbolism used throughout. (Rabbits, ballet, et. al.) And this movie should not be confused with the TV series This is Us. The TV series doesn’t use violence nor doppelgängers. But you already knew that!

This film is rated R for violence and cussing. Now playing at all of the multiplexes found nationwide.
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ACCESSIBLY LIVE OFF-LINE
is a presentation of Linear Cycle Productions

Details@AccessiblyLiveOffLine.com
AccessiblyLiveOffLine@gmail.com
Details@LinearCycleProductions.com
http://www.AccessiblyLiveOffLine.com
https://www.facebook.com/accessiblylive.offline
@AccessiblyLive (Twitter)
https://www.youtube.com/channel/UCEHxSllfDItpWh3z8vuUb_w
(Accessibly Live’s channel on YouTube)
http://www.LinearCycleProductions.com
#AccessiblyLiveOffLine

(Look for us on Facebook, follow us on Twitter, and see us on YouTube!)

ACCESSIBLY LIVE OFF-LINE (C) 2019 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!