It’s been less than twenty years since the concept of what’s known as “social media” has made an impact in this domestic society as we all know it. When cyberspace was starting to emerge from an amusing novelty to the way of life it has since become, the concept of letting folks express themselves has changed from letting people know that you are out there just to say “hello”, to using the tools that exist to do everything from selling goods to seeking a way to gain “fame” along with the fortune that tends to follow the fame or vice versa. Some folks spend many of their waking hours posting their pics through Instagram, writing sort(er) commentary through Twitter, streaming video (live or transcribed) through Facebook, YouTube, and other forms of streaming, and other methods too numerous to mention.

Within those last twenty or so years i.e. around the turn of the 21st Century, many of the companies that were introducing those methods has grown to become giants, nearly to a point where they are expanding to become almost sovereign nations! Facebook is getting into cyber currency, while Amazon is attempting to control what you can buy, how to use what you can buy, and other commands through robotic devices that you can speak to!

And as the players in social media intentions are getting bigger and more powerful, so are their applications. (And for the record, those companies are Facebook, Apple, Amazon, Netflix, and Google, better known as FAANG!) Facebook didn’t create the book on social media, but they sure modified it! Apple, the one-time follower in the computer world and inventor of the ever lovin’ smartphone, is getting into the game. (A bit late, but joining the party nevertheless!) Amazon is expanding into more cyber stuff rather than just selling goods one needs or not. Netflix is holding on in providing TV show-esque program content via streaming (and never mind the fact that Netflix will no longer provide such fan favorites as The Office and Friends) and Google knows that you will be reaching out to them when you want to find something or another.

These “big five” are out there to use one element extracted from their users and abusers. It’s that thing known as “data”. This data is used to discover who is using what, how that what is being used, how much one is spending (or not) in that what, and other notions that is only known to the collectors of data, using robotic means to gather those goods for purposes that are a bit questionable as it stands.

And rightly so! A recent study and survey conducted Ogury, a marketing firm that collects data through electronic devices using robot means, stated in a report entitled The Reality Report: Consumer Attitudes Towards Mobile Marketing 2019, noted that 92% of those polled worldwide (287,000 to be exact) said that these consumers still don’t understand how their data is being used. Every time somebody uses any application, from the millions of phone apps that exist out there, to the notices one posts through said social media, or what you command your robot device to do for/with/against you, some source is collecting that data however the consumer may know of it or not.

Those elements, among many others, is one of the reasons why social media still exists. And sadly, it’s very hard to escape those notions. The only method to become data collection free is to simply get “off the grid”. That is, disconnect your electronic device from any internet connection, get off of one’s phone, (or at least switch to a classic style flip-phone), and communicate with others through humanistic methods, such as taking to them via face-to-face. (Not through “facetime”!) One can even still write letters sent via the postal service! It still works, or it did the last time this writer took of the advantage!

But asking those to get back to where they came from cyberspace-wise will be a tough, if not an impossible climb for those to even consider! It’s very much asking somebody to forgo electricity or even indoor plumbing! Just remember that artificial intelligence is using you to collect the details of what it wants from you, whenever you may know of it or not! This isn’t a friendly warning. It’s just a way of post-modern life!

City Garage Theatre of Santa Monica presents EURYDICE, Sarah Ruhl’s play extracted from the Greek Mythology of Orpheus, this time witnessing her journey from her own point of view.

Lindsay Plake is Eurydice, a young woman who marries musician and poet Orpheus (Johanny Paulino). During the wedding celebration, she is set astray by a mysterious man (Giffard Irvine) who tells her that he holds a letter written by her father (Bo Roberts) embedded with his well wishes for her if he was still within the human world but dwells in the underworld. She, too, enters the underworld now separated from Orpheus where the communication is spoken by the stones enchanted by those from the underworld: Big Stone (Marissa Dubois), Little Stone (Emily Asher Kellis), and Loud Stone (Brandon Reed). It is among these three that guides Eyrydice through her voyage among the underworld to her father where she seek comfort, yet possesses no recollection to who he is.

This new(er) twist to the myth of Orpheus and Eurydice is viewed upon through the standpoint of the title character as portrayed by Lindsay Plake. The story is set within the modern age of now, yet isn’t committed to a specific time point. This means that its time and space resembles a contemporary setting. The tale holds an emotion of poetic aspects, yet is isn’t advised through prose nor verse. The senses this play presents points toward surreal moments from the start with Orpheus’ promising the world to his new bride, only to have her taken to the underworld where those deceased dwell. The balance of characters fall toward Eurydice and her father where she seeks his tranquility.

The staging of this production is of minimal values while holding maximum potential. Charles Duncombe’s set and lighting design consists of a few spaces that blends a number of vertical and horizontal metallic railings that could be akin to a construction site or even an “erector set”, fashioned through various stages of mood lighting arranged through each episode of Eurydice. The same stands for the contemporary style costuming by Josephine Poinsot and Geraldine Fuentes, showing off that the era depicted could be c. early 21st century, but its setting is of the near and far after. Anthony Sannazzaro’s video design shows off the various points in the space of Eurydice, from the starting drift with Orpheus to her concluding moments in the underworld with those that are the stones.

Directed by Frederique Michel, EURYDICE is a single act stage tale that expresses a story through a lightening moment to a universe of death and redemption. Although this play is billed as one that is comic, tragic, silly, and poetic, the comedy and/or silliness is very nominal, if it exists at all! It’s more of a poetic crusade that does conclude with a level of a fallen spirit.

EURYDICE, presented and performed at City Garage Theatre, 2525 Michigan Avenue (off Olympic), Building T1, Santa Monica, until September 15th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday matinees at 3:00 PM. Special “talk back” session with the cast, crew, and director will take place post-production on Sunday, September 1st.

For ticket reservations or for more information, call (310) 453-9939, or through the theater’s website at
The Odyssey Theatre of Los Angeles presents FEFU AND HER FRIENDS, Maria Irene Fornes’ play about a gathering of eight women who congregate at the home of a progressive woman to participate on a common purpose, only to have their meeting lead toward other matters.

The setting is the rural New England based estate of Fefu (Tiffany Cole) c. 1935. She is an eccentric woman of means who hosts a gathering of seven other women for the motive of rehearsing a presentation to raise funds toward an education program they are connected with. Those that are present consists of Cindy (Tanya Garlow), Christina (Dominique Corona), Julia (Sandy Durante), Emma (Sydney A. Mason), Paula (Cynthia Yelle), Sue (Alexis Santiago), and Cecilia (Jennifer Lee Laks). Each one carries a personality of their own. Julia is bound in a wheelchair from a hunting accident taking place the previous year. Fefu as host, tends to take control over things as she is fully aware that she lives in a “man’s world”, and that control gives her the confidence that she could succeed in the society she exists in. (She can even shoot a rifle with ease as she does in a game she plays with her spouse with her as the shooter and he as her “target!”) Later that evening, the other woman are in different parts of her home where they discuss things that are more of a personal nature that brings out issues that become rather deep. This brings the group to a point where these bone of contentions are unintentionally brought to the surface, including a reference of a romantic affair that once existed.

This play written by Maria Irene Fornes was first presented in 1977 yet takes place in the middle 1930’s where the sense of feminism although existing at the time, was very limited in scope by only to those that practiced this form of idealism. (By the 1970’s, the notion of a “Woman’s Lib” movement because more mainstream.) Fefu takes dominance by way of her robust and eclectic protocols, acting not as a mother figure, but as a friendly yet firm boss! The other seven holds that same influence thanks to Fefu bring in charge. This influence may or may not have stilted their lives a bit. Then again, if Fefu was a woman leading a so-called “woman’s club” or serving as a leader to a ladies auxiliary-type grouping, would this gathering consists of rehearsing silly skits and signing parodies to popular musical numbers while dishing out the usual stands of gossip?

What makes this play unique in its staging is where the audience members are lead in small groups to various “rooms” found within Fefu’s country estate. Its first act takes place in the living room where the woman meet and get acquainted with their surroundings. Later, each room has one or two characters discussing those various personal issues, suggesting that these mini sagas are taking place all at the same moment. In the second act, they are back in the living room where the real truths become exposed either for the better or for the sake of acknowledging the hard truths. Denise Blasor directs this show where the group gathering is justified dramatic wise by the more intimate episodes that take place in isolated rooms such as a parlor, a bedroom, a garden area, and the kitchen space.

With such period pieces comes the sets and costuming. Frederica Nascimento’s set design is at a minimum with a few scattered furnishings placed here and there within the living room and the various other rooms. Josh Lacour and Denise Blasor’s costuming is of the period that was donned by those that made it through the after affects of The Great Depression.

Perhaps the closest way to compare FEFU AND HER FRIENDS is to take a look at the 1939 MGM feature film release The Women. That movie featured a gathering of women within the same space. However, the latter title was leaning toward comedy and wasn’t as “racy” as the former! (Standards and Practices a.k.a. “the censors” wouldn’t allow such raciness!) However, it’s a interesting look to examine upon how the woman of their worlds would become into their own states of being. To refer to a line sung for a TV commercial jingle advertising woman’s cigarettes, “You’ve Come A Long Way Baby”. That so-called “long way” may have progressed since then, but it’s still a long way for those ideas to show some progress!

FEFU AND HER FRIENDS, presented and performs at The Odyssey Theatre, 2055 South Sepulveda Blvd. (between Olympic and Santa Monica Blvds.) Los Angeles, until September 29th. Showtimes are Friday and Saturday nights at 8:00 PM, and Sunday afternoons at 2:00 PM. Special presentations take place on Wednesday, September 11th and 25th, and Thursday, September 19th at 8:00 PM.

For ticket reservations or for more information, call (310) 477-2055 ext. 2, or online at
is a presentation of Linear Cycle Productions
@AccessiblyLive (Twitter)
(Accessibly Live’s channel on YouTube)

(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!


IT’S MY LIFE!! (Part two)

In the previous issue, this writer wrote about a tale between a woman’s attempt to move all of her goods from one place to another, and the person who was there to assist in the best way one can.

The story, recapping as brief as possible, has Gloria (not her real name, ‘natch) attempting to pack and move the things she had kept for some twenty years, only to cram as much of that stuff in a place that is only a fraction of size and space. The person making that said attempt to complete this feat is with the aid of an associate (“me”) doing his damnedest in making the impossible possible, along with the trails and tribulations that goes along with it all!

The name of this tale (as listed above) comes from the answer this humble writer received from Gloria when asked why she is packing about five boxes worth of clothing that may never be worn ever again! The answer received to a question she may have perceived as “stupid” was “Because those clothes are my life!”

So let’s pick up from where we left off, shall we…?

So here I am. I’m packing a wardrobe of clothing that may never see the light of day again for somebody who insists that these cherished garments stay in their place. Many of these pieces appear (to this writer anyway) as something one can find in any discount department store, such as a Sears or even a Target or Walmart-type outlet. A few pieces look rather fancy with many of those items holding some kind of backstory to them. This writer even packed the actual outfit Gloria wore when attending the wedding of the couple that once owned the condo from some some twenty years before! I looked at the photos I took during that wedding day (taken on 35mm film), and those photos do feature Gloria donning that same outfit when she was twenty years younger and about forty pounds lighter!! I also saw a few t-shirts with the likeness of the cartoon characters found on brands of General Mills cereals! (Lucky the Leprechaun, Sonny the Cookoo Bird, etc.) I learned that those t-shirts were part of a premium offer that General Mills featured in the middle 1990’s, but this is all besides the point!

After a few hours, we were able to pack a total of five boxes of “good” clothes and four trash bags full of unwanted duds. The good clothing were all set for storage while the bags of cast-off clothes were set for the local Goodwill.

We already knew about the bags, but what was the fate of the boxes? Granted, Gloria’s place is a small room, and the lady renting out the room didn’t have any storage space to speak of. Unless Gloria was willing to rent (and pay) for a storage space to place the rather large boxes, she was stuck!

It turned out that the brother who served as the executor of the estate did have some space in the family garage, and would be willing to keep the boxes on Gloria’s behalf. However, their garage was one of a typical garage found among the older homes located in the San Fernando Valley area. The garage itself was rather dusty, full of cobwebs, along with the fact that there was enough junk kept inside to keep the garage packed as it existed! However, the brother being the good sport as he was, was willing to keep the boxes in place until Gloria would claim them back, or when the brother’s patience ran out–whatever came first!

Gloria’s collection of furnishings were limed to a few pieces: A bed’s headboard, a pair of end tables, a bureau, a student desk, along with a TV cart on wheels. These few items would be moved next. Lucky for her, she has a method of getting the furnishings from her old place to her new. Gloria asked (nagged?) a co-worker of hers who has a big deal Ford F-150 pick-up truck that were able and willing to haul the bedroom set off to her new place. Gloria did purchase a new mattress and box spring set from a nearby dealer. That retailer did deliver the set to her new location, so it was waiting for the rest of the goods to arrive in order to complete Gloria’s room the way she desired.

As this essay is being written, Gloria as yet to complete her move! It’s been around six weeks from the time she started to pack her goods (when the woman died) to the moment where this story ends for now. And the rest of her “good” clothes has yet to be moved from one spot to another! Perhaps the reason for this delay would speak for the fact that these outfits are part of Gloria’s life. Even if that life is shifting gears from an unkept and rather messy place to a newer space that is prim and proper as one can get away with. But once everything falls into place, Gloria will have a spot of her own, complete with the furnishings and the wardrobe that is indeed, part of her life!

And I helped! (Sort of…!)

Performing at Hollywood’s New American Theatre is BAD HAMLET, a unique and interactive look upon a four hundred plus year old work set for the new post-modern millennium.

The work itself is Hamlet, Willie Shakespeare’s stage piece about the king of Denmark, back in the day when it was an emerging nation rather than a country linked to contemporary furniture design. Here, through the use of shorter episodes told with duo senerios, monologues, and various interpretations with the aid of multimedia applications bearing a significance, the tale (or myth) of Hamlet is exposed. Granted, Hamlet himself, along with his entourage, never really existed by personalty. (If they did, they are all dead, far forgotten, and their likeness long fell into the public domain!)

But this single-act new work, based upon the legend of the bad quarto, a supposedly early draft of this play was taken upon and recreated by one of the original cast members when this play was first presented back around the turn of the 17th century, is finally exposed long after its fact!

This presentation, devised by the ensemble cast and directed by Rob Adler, is a program that isn’t linear in any traditional sense. It’s just a reemergence to a classic piece of theater and set within an interpretation upon the ins and out of the characters, settings, and the outcome through the reasons behind how things got rotten in the name nation. In short, it’s another method of making The Bard’s work (or those credited to The Bard anyway) a whole lot less painful–assuming it’s indeed painful to begin with!

The ensemble cast that appear in this program features as listed in their alphabetical order, Zack Davidson, Casey Dunn, Marguerite French, Julian Juaquin, Akshaya Pattanayak, Elisa Rosin, Chris Schultz, Hanna Trujillo, and Lauren Vitz.

Billed as “bootlegged” by William Shakespeare and the people of Los Angeles, BAD HAMLET isn’t “bad” in any way. In fact, it’s quite appealing! It won’t be a spoiler alert to inform those that has yet to experience this new method of stage storytelling that everyone meets their match since the original source as extracted is some multiple centuries old, but that is what occurs. Call this piece as Shakespeare for a new generation.

BAD HAMLET, presented by Coin & Ghost, performs at The New American Theatre, 1312 North Wilton Place (south of Sunset Blvd.). Hollywood, until August 24th. Showtimes are Thursday, Friday, and Saturday nights at 8:00 PM.

For more information and for ticket reservations, visit online at
FAST & FURIOUS PRESENTS: HOBBS & SHAW (Universal) stars Dwayne Johnson and Jason Statham as the title characters, Luke Hobbs (Johnson) and Deckard Shaw (Statham). Both are based on opposite side of the world: Hobbs is in L.A., while Shaw is in London, each doing the same thing–making sure that they get their way no matter what! Hobbs lives his life near the beaches of Venice while driving his motorcycles and his tricked out Dodge M37 pick up truck. Shaw dwells among the posh side of London while using a 2018 McLaren 720S as his set of wheels. Both of these characters worked with each other before, but never really got along with the notion of vowing to never be in the same presence again! That is, until they both hear about a case where Brixton Lorr (Idris Elba) described as a cyber-genetically enhanced anarchist, get hold of a deadly bio virus code named “The Snowflake” so deadly, one contact will turn any person into a pile of goo! Meanwhile, a tough M16 agent Hattie Shaw (Vanessa Kirby) who also happens to be Deckard’s sibling, is also on the case. However, her team was wiped out in an ambush. She was its sole surviver, but was injected with The Snowflake. As time is running out for her, she seeks a cure while Luke and Deckard are out to find the source for The Snowflake, traveling through the ends of the earth by and with all means necessary!

This feature is the latest entry to Universal’s biggest franchise that they own outright, part of the multiple Fast & Furious line of action/adventure pics. Although it’s really not part of the F&F franchise per se (it could be dubbed as Fast & Furious 7 1/2), it does feature two characters that were connected to the F&F team. Johnson, who first appeared in the fifth entry while Shaw made his mark in the sixth. (Furious Five and Fast & Furious 6, just in case anyone is keeping track!)

As with the other entries of the F&F connection, there are plenty of the expected scenes that make this series just what it is, complete with explosions, gunfire, lots of snappy if not chiched dialogue (for an action/adventure pic), as well as a few peeks of some “quiet” moments before the for noted gunfire and explosions takes its toll! Chris Morgan’s story with screenplay by Morgan and Drew Pierce, doesn’t hold anything new and unique expected for the said action. In fact, it’s quite reminiscent to a shoot-em-up from the 1980’s and 1990’s when such stars as Steven Seagal and Arnold Schwarzenegger were at their peak. This time around, the special effects that are part of this movie is a whole lot better then they were as seen by the late 20th century-era film making school of comic book-style adventure movies!

There are other lead characters featured as well, such as Cliff Curtis as Jonah Hobbs (Luke’s bro), Helen Mirren as Queenie Shaw (Deckard’s sis), Eiza González as Madam M, a mysterious weapons dealer and “fixer”, and Eddie Marsan as Professor Andreiko, the title genius who knows of a cure for The Snowflake. But who and what they contain doesn’t really matter here! Just as long as the action is good and plenty thanks to film director David Leitch take, it’s all about what comes out in the end.

Based on how this movie does box office wise, one can bet that Universal, perhaps the only major movie studio that can catch up to their crosstown rivals, The Walt Disney Company in terms of creating money making features–the real reason why movies are made in the first place, will churn out more of this kind in the many years ahead! Just as long as the F&F series keeps its gas tanks full, this won’t be the last time one is gonna see the likes of Hobbs ‘n Shaw!

This movie is rated “R” for cussing and violence. Now appearing at all of the multiplexes nationwide.
is a presentation of Linear Cycle Productions
@AccessiblyLive (Twitter)
(Accessibly Live’s channel on YouTube)

(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!

IT’S MY LIFE!! (Part one)

A few weeks ago, this writer was assisting a personal associate (i.e. “friend”) move from a condo unit she once rented to a new location. The person in question is someone I will call “Gloria”, not so much to protect her privacy, but to product myself over things I will express within this column that may not be of her liking! More on that notion later!

Before I begin in this long episode, allow me to present a big of a backstory to this actual tale of truth! In 1999, Gloria rented out a condo unit located in a section of the San Fernando Valley that was pleasant for what it was, although the location was slightly rough around the edges. The owner of this condo lived in this unit until he got married.

Since he was moving with his new spouse at her family home located not too far away, he wasn’t going to take occupancy. So Gloria, a good friend of the now married man, decided to move in paying him a monthly fee as rent. That was all good since Gloria would have a place to live while the man had somebody staying at this unit.

This began to change slightly when the man died a few years later. The widow received the unit as the surviving spouse. This means that Gloria would now be paying rent to the widow. That was all fine for what that was.

A few years later, the widow was developing a case of an early stage of Alzheimer’s. This illness became worse over the years, enough to where the widow was not longer to function on her own behalf. Her elder bother became the executor of her and her late husband’s estate. Now Gloria was playing rent to the brother. Again, Gloria was still able to stay at the unit as always, now calling to a third party.

In May of this year, the widow became ill and thus, died shortly after. Now the brother as executor of the estate, decided that he no longer want to keep the condo, and hired his son, a real estate agent, to sell the unit. This would mean that Gloria is now forced to move after living in the same unit for some twenty years.

There are a few traits this writer will state about Gloria. First of all, she is in her 60’s, nearly pushing 70. She was never married meaning there is no spouse and kids for her to speak for. She lived in the condo with a roommate who has her own issues that this writer won’t get into! (The roommate after all, isn’t so much part of this story!) She is one of those people that isn’t very tech savvy, either. She still uses a flip phone (c.2005), and doesn’t seem to be interested in catching up with the world (so to speak) when it comes to living with anything internet based–a notion that is today’s domestic society is now a way of life rather than the novelty as it once was. She is also a bit aggressive, sill caring on the traits from where she came from-a community in western Long Island, New York. In fact, she still speaks with a “Niew Yauk” accent that can be charming for what it is–unless somebody pisses her off over something where she will make sure you won’t forget about it! Perhaps this is the reason why this writer can express about her and her situation too much in detail since it would be my ass on the line. Besides, she won’t bother to read this article anyway since she won’t be able to find it sitting in cyberspace! If you asked her to do a search about something by “Googling” it, she will give you a blank stare asking just what the hell you are talking about!

Anyway, let’s get back to the story! I will state that among the many other traits Gloria possesses, keeping a neat house isn’t one of her better qualities! In fact, she is an utter slob! Her place is a rip roaring mess with items scattered about ranging from junk mail, clothing, dishes that hasn’t been put away let alone cleaned out, and other notions that could would describe her home as “The bomb hitting the Goodwill!”

Gloria is a pack rat–a term based on her own self description, where she feels that she has to keep everything, no matter what it is or how she keeps it! So if one can picture a place that has been occupied by a so-called pack rat for a twenty year time span, one can imagine that her unit is one big dump! And to make matters worse, she has to get everything contained in her former dwelling place out of there–or else!

And this is where yours truly fits into this episode.

To make a very long(er) story short, she asked me if I would be to help out in getting her placed ready for her move. I said I would do what I can, but she would have to hold more responsibility in getting her stuff together, such as deciding what she would want to take to her new place. That new location consists of a bedroom that is 2/3rds the size of her former bedroom located in a smaller apartment unit occupied by a 60+ single woman in Burbank

Oh yes, the room she is renting is located within a classic style courtyard apartment complex that was once commonplace found within the Los Angeles region built between 1910 and 1940. The actual apartment Gloria will be living in is around 900 or so square feet. The place itself is so neat, this woman living there has every little thing in its own spot, from little knickknacks to photos among photos of her family and friends set in their frames either affixed to the wall or as stand alones sitting on almost every counter space. In other words, it’s a total opposite to Gloria’s former unit.

So Gloria wanted to be start off by packing her collection of clothing into boxes that were around four feet high and around two feet in depth. My assessment was for Gloria to take out every item found in her clothes closet, inspecting the piece to decide if she wanted the thing. If she didn’t want the item, I would place in itself of a plastic garbage bag for her to donate to a local Goodwill. If the item was going to be kept, I would fold the piece of clothing and place it inside of the box. Once the bag and/or box was filled. the bag/box would be sealed and placed off to the side, ready for another box/bag to stuff.

Most, if not all of her clothing, was part of Gloria’s collection for over twenty five years. Over time, Gloria’s figure ballooned slightly(?), meaning that that cute little something or another she got in 2000 didn’t necessarily fit her anymore, let alone looked good for what it was. But Gloria was hell bent in keeping the item, and would do so by having me place it inside of the box and/or bag until it was full, continuing the cycle.

I somewhat wondered why she was keeping clothing that would be stored away with limited to no access to the item, not even knowing if she would ever ware the piece again. So taking a risk, I did ask Gloria saying something to the effect of “If you are packing these clothes away not even knowing if you are going to ware them again, what is the point of keeping it in the first place?”

Gloria gave me a reaction as if I said something that was insulting in nature. She replied in a rather hostile way, “Because those clothes are my life!”

With that sentence being uttered, this writer was pause for a moment only to continue this tale based upon a true story for the next issue! Stay tuned!

BILLIE HOLIDAY: FRONT AND CENTER, the capsuled story of one of the greatest singers of jazz and blues active in the 20th century, performs at WACO Theatre Center in North Hollywood.

Sybil D. Jatta is featured as the title vocalist. She performs as Billie through the various stages in her life. As a child, she was molested by her mother’s “cousin”. Before long, she was in and out of the juvenile court system in her native Philadelphia on charges ranging from truancy to prostitution to possession of narcotics. As a young adult, she made an attempt to perform is a small jazz club. That is when she started her climb to her way up, eventually becoming a vocalist for bandleader Artie Shaw–the first “negro” vocalist for a white band! In spite of her working with some of the greats in jazz as well as being married three times, she did carry her issues as a drug addict that eventually lead toward her demise of cirrhosis of the liver in 1959 at the age of 44.

In her performance, Sybil D. Jetta plays Billie through those moments as a solo. Although the story of her life and times is dramatically presented, what makes this show worth its theater weight is her vocals, performing many of the jazz and blues tunes sung in the style that Billie Holiday herself once presented. Backed by a four piece jazz band consisting of Louis Van Taylor on sax, Lance Lee on drums, Michael Saucier on bass, and Casey McCoy on keyboards as well as serving as musical director, Sybil and the band is set cabaret style to mimic a jazz club personna. Her upright mic she uses is one of those “classic” style mics made famous in the jazz/blues/big band era. (A Shure 55SW in case anyone is counting!) Sybil also created the script she uses to tell the tale of Billie Holiday under the stage direction of B’anca. Along with the acting, it’s the music and vocals that make this show really happen!

For those that desire for their theater peppered with jazz/blues music, or their jazz and blues music set with an additional back story, this presentation is flawless. And as the title suggests, it’s all front and center!

BILLIE HOLIDAY: FRONT AND CENTER, performs at WACO Theater Center, 5144 Lankershim Blvd. at Magnolia, North Hollywood, until August 18th. Showtimes are Friday and Saturdays at 8:00 PM, with a Sunday matinee on August 18th at 3:00 PM.
Tickets can be ordered online at
ONCE UPON A TIME…IN HOLLYWOOD (Sony/Columbia) stars Leonardo DiCaprio as Rick Dalton. He was once the star of a TV western called “Bounty Law” that aired on NBC in the early 1960’s. Brad Pitt is Cliff Booth, Rick’s stunt double and best pal. Rick’s been in a career slump of late. It’s early 1969, and Rick is looking for his next big break. His agent Marvin Schwarz (Al Pacino) recommends that he heads off to Italy to appear in a “spaghetti western”, a “B” quality oater made in the said country. But things start to look a bit brighter as he manages a few guest spots on some TV programs, including a newer one called “Lancer”-another western series. Living in his home up in the Hollywood hills, Rich discovers that his new(er) neighbor is film director Roman Polanski, living in a home once occupied by Dennis Wilson and Terry Melcher. This happenstance just might be one pool party away of a possible Rick Dalton role in a Polanski feature! Meanwhile in another part of town, budding star Sharon Tate (Margot Robbie) is looking for her bigger break, fresh from her appearance in the film The Wreaking Crew. While this is going on, a mysterious stranger calls upon the Polanski home, looking for its former tenants. Seems that this stranger is one Charlie Manson (Damon Herriman) a wannabe musician. While all of these things seems innocent, it appears that something is going to happen later in the year, an event that even Hollywood can’t make up!

This latest entry (its ninth) by writer and director Quentin Tarantino is a loving tribute to Hollywood and its show biz entities that were occurring in the latter days of the 1960’s, when the so-called “new Hollywood” was starting to make its mark. It focuses on how show biz stars and starlets were doing during this change from the old Hollywood of yesteryear to the new Hollywood of tomorrow on what can they do to appear in a movie (first priority), or even a TV series. Although the tale’s center point is upon the characters of Rick Dalton and Cliff Booth as portrayed by current Hollywood hunks Leonardo DiCaprio and Brad Pitt, the episodes leading into the antics of failed rock star turned cult leader Charles Manson brings upon the focus to the story. This aspect creates this film as a twofold epic, retelling the most notorious true-crime saga that occurred on these shores in the last millennium (one of the many “crimes of the century” to take place in the 20th century), as well as saluting the Hollywood scene of this era as beloved by Tarantino.

What makes that salute fun is the notion that there are many references, some more profound while a few hidden, that shows how Hollywood, or Los Angeles anyway, was like back in the day! (This reviewer doesn’t want to give any spoilers here, but look for signage that was placed on street scenes as well as in a few interior shots!) For those that lived in Los Angeles way back when, it will be in the same nature as a visit from an old friend. For the rest of the movie watching audience, it will be all missed with a few minor errors noted! (And never mind the fact that in 1969, Hef didn’t live in what’s now known as The Playboy Mansion yet! He didn’t get the pad until 1971 as he was still based in Chicago!!)

This movie also boasts a large and vivid cast, from Luke Perry (his final film appearance) to Bruce Dern as the owner of the western ranch where the Manson cult lived to Dakota Fanning cast as fellow cult girl Squeaky Fromme, adding much of the flavor that this film presents. And as an added bonus, a number of radio voices appear in this movie as KHJ jocks ranging from such talents as Humble Harve, Robert W. Morgan, and “The Real” Don Steele, proving to the world that Tina Delgado is still alive! (That’s an inside joke, gang!!)

In spite of all of the summer releases that consists of super hero and related action picks, animated fare, as well as the standard fodder of sequels, prequels, remakes, reboots, and reimagines, ONCE UP A TIME…. is a flick for movie fans, Quentin Tarantino followers, and for those that enjoy a story wrapped around a real and horrific episode that L.A. never totally forgot about, even fifty years long after the fact! It’s the perfect storm for a movie that runs some two hours and forty one minutes in length…and is worth every single second!

This movie is rated “R” for violence and standard cussing. Now appearing at the usual set of multiplexes nationwide.
is a presentation of Linear Cycle Productions
@AccessiblyLive (Twitter)
(Accessibly Live’s channel on YouTube)

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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!


In this day and age, it’s not too soon when a magazine title that has been around for generations announced that they will no longer exist as a print title, meaning that their editorial content will be limited to something read and consumed through cyberspace, if at all! Many titles in recent years from Money to Playboy has changed in how they are made available to its loyal or not as loyal yet promising enough audience.

Earlier this month, a magazine that’s been around since 1952 that made plenty of influence in this domestic society while never really taking itself seriously or seriously enough, will call it (almost) quits!

The magazine, originally calling itself as “Humor in a Jugular Vein” will conclude its run with original content. That title is the ever lovin’ Mad.

Mad was originally a comic book that didn’t tell a story in the traditional sense, but it took a look at life in this nation and the nations around the world, and did all of its damndest to make light of everything, hosted by a boy child with curly hair, a toothy grin with a buck tooth missing, and really didn’t speak! This boy was named Alfred E. Newman. Again, he didn’t say much, but has a catchphrase that really didn’t make much sense as a stand along line, but went with the zany themes the magazine covered–What Me Worry?

When the title first made the scene in 1952, it was published by EC Publications, a New York based publishing firm that released comic book titles that were of the “pulp fiction” variety, such as Tales From The Crypt (horror) Weird Science Fiction (sci-fi) and Aces High (high adventure), among many others. This time, it would take on humor with its target as the passing scene, ranging from politics, popular culture, media, and fads and came, went, and came back again. It did it all well and well remembered.

In the early 1950’s, humor was changing from the notion of the vaudeville variety. Popular comedians of the era such as Jack Benny, Jimmy Durante, Eddie Canter, and a host of others were weened on humor that was first seen on a stage, telling gags and perhaps participating in slapstick humor. When TV was kicking in, these comics were seen each night to the millions that tuned in. Around that time, the biggest comedy program on was a live program that aired on Saturday night–Your Show of Shows, where much of its comedy came from satire. Other comics that took that approach used satire with a “quirky” attitude: Stan Freeberg, Ernie Kovaks, Bob Elliot & Ray Goulding (“Bob & Ray”), Steve Allen, and many others were making the scene. The Queen of comedy, Lucille Ball, didn’t rely upon quick and snarky comedy, but still used physical humor to get her laughs across. So she really didn’t compete. Mad, however, took that same notion and carried it through the ages.

Not only was it a hit, but it inspired dozens of magazines that used the same playbook using snarky humor and satire. Such titles as Panic, Trump, Whack, Snafu (written and edited by Stan Lee), and others came and went. Long time editor of Mad, William B. Gains, was said to have a list of other titles that tired to take Mad off its throne affixed on a voodoo doll. When one title bit the bust, he would stick a pin on the doll over the name of the now deceased title. He was able to even place a pin on perhaps Mad’s biggest competitor, The National Lampoon that has its peak in the 1970’s catering to the college/grad school crowd. Most likely, many of NL’s readers were weened on Mad as kids, now graduating to more mature (and rather raunchy) stuff! Although NL also sported special one-shot issues as Mad as done for years, even getting into radio and the movies (The syndicated National Lampoon’s Radio Hour, and National Lampoon’s Animal House, etc.), NL called it quits in the early 1990’s.

So what will happen to Mad? It’s operator, DC Comics, will continue its bi-monthly run with reprints, and will present an ocational special edition as its been doing since the late 1950’s. However, it won’t be the same for that title to take on anything and everything. But that’s the magazine biz! Or to use one of many of the magazine’s catchphrases, “Hoo-Haw!” (Or “How’s Your Mom, Ed?”) Eccch!

Theatre 40 of Beverly Hills opens their 2019-2020 season of plays with the American premier of Norm Foster’s RENOVATIONS FOR SIX, a comedy about three couples gathering for a dinner party while they are renovating their homes and themselves.

Shayna and Grant Perkins (Rebecca Driscoll and Lane Compton) are new in town. Relocating from Chicago, they are in a bright phase in their lives. They just purchased a home that needs a bit of tender loving care and are in the middle of a big renovation job. Shayna wants to open up a yoga spa, while Grant is a manager for a furniture outlet. In order to feel welcomed, they decide a host a dinner party. They pool their sources in the few people they know. So they invite three couples as part of the dinner troupe. The first couple consists of Wing Falterman (David Hunt Stafford) and his wife Billie (Gail Johnson). Wing and Billie were once in show business where they were a song and dance duo. But that was many years before as Wing is now a salesman for the furniture outlet that Grant is the manager. The third couple is Maurice Dudet (Martin Thompson and his wife Veronica (Mona Lee Wylde). Maurice gave up his previous engineer career to become a novelist, while Veronica is a psychiatrist and a member of a book club that Billie is a part of. Shayna and Grant feel that this blend of two other couples from different backgrounds would be the center of interesting company and conversation. That became the case, but not necessarily what they had in mind. Once these six meet, the dinner party turns into anything but a pleasant evening with good friends!

This play written by Canadian playwright Norm Foster is a piece that shows how three married couples of unique traditions as well as age groups battle with one another (if not between themselves), all as a series of comical follies and foibles. Its first act shows and establishes the connections of all six, while its second act develops into a scene where secrets are uncovered where nobody even bothers to snack on the cheese, crackers, and pickles! The cast of the six players show how different they are, although the younger ones–Shayna and Grant as portrayed by Rebecca Driscoll and Lane Compton, has yet to obtain the burdens that married life presents. Bille and Wing, as played by Gail Johnston and David Hunt Thompson (who also serves as Theatre 40’s artistic director), along with Maurice and Veronica (Martin Thompson and Mona Lee Wylde) holds on to more emotional baggage than they can carry. This so-called “baggage” provides most of the play’s comic relief.

Howard Storm, who has directed a number of TV sitcoms of such hit series as Rhoda, Laverne & Shirley, Mork & Mindy, Taxi, and a host of others, directs his comic talents and timing that is witnessed throughout. Granted, much of the comedy projected is focused on the other character’s emotional expenses. However, since comedy is based on tragedy, the humor formula is fully on track!

Jeff G. Rack, Theatre 40’s residential set designer, provides a set where the Perkins’ home is seen, complete with furniture that are draped in drop cloths, walls with uneven paint jobs, and a lot of home renovation tools scattered about. These elements are something one would find in a house that is going through its “during” stage.

RENOVATIONS FOR SIX is a charming and rather comical play. The moral of the story can be described as to be careful who you invite to a home based dinner party. Egg could wind up on your face if you don’t watch out, or wash up!!

RENOVATIONS FOR SIX, 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 August 18th. 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
Antaeus Theatre Company of Glendale closes out their 2018-19 season with THE CAUCASIAN CHALK CIRCLE, Bertolt Brecht’s play about a young peasant woman’s rescue of a babe in arms, and the natural mother’s attempt to gain her child back.

The setting is the Caucasion Mountains located in what was then known as The Republic of Georgia. It is shortly after the Second World War where a village still feels the aftermath of the destruction the battles presented. The local farmers are at a “war” among themselves, seeking how to use the land to their best ability. One set of farmers desires to raise goats and to use their land for grazing. The other half wants to plant an orchard for growing fruit. This battle leads toward the creation of a play with music called The Chalk Circle that has the ruling governor George Abashwili, executed during a revolution. His wife Claudia flees for her life, leaving their young son Michael behind. Grusha Vashadze, a lowly peasant kitchen maid, rescues the young child and raises him as her own sans a father figure. When the revolution ends, Claudia returns to claim her son. This leads toward a court of law that decides the fate of the child, using a method of a “chalk circle” where whoever pulls the child from a spot on the ground boarded by a circular line drawing made of chalk can have custody, and to provide that Michael will become heir as the ruling Governor.

This is a play written by Bertolt Brecht when he was living in the USA in the 1940’s. It was first presented as a student production at Carleton College of Northfield, Minnesota, located south of Minneapolis. This play has a feel of a college based work, although that was not of its original intention. (It was meant to play on a Broadway-type theater!) This work has been called as an “epic” production. Not so much because it’s presented in a grand scale, but it’s created with a number of elements going on at once. (And early version of experimental?) This method of creativity may be a bit different to follow, especially for those that are used to experience theater works set in a more linear fashion.

That non-linear forge is what makes this play rather appealing for how it stands, complete with lots of rich dialogue, interesting characters direct from the “old country”, as well as a conclusion where the Georgian village’s state never qualified for a Marshall Plan. Alistair Beaton’s English translation from the original German enhances the for noted productive dialogue that is far better that how an uneducated peasant could normally speak.

Liza Seneca plays Grusha, the peasant woman who brings up Michael. Paul Baird plays George, the Governor. Claudia Elmore is The Governor’s wife. The rest of the ensemble cast, including John Apicella, Noel Arthur, Gabriela Bonet, Turner Frankosky, Troy Guthrie, Steve Hofvendahl, Connor Kelly-Eiding, Michael Khachanov, Alex Knox, Mehrnaz Mohammadi, Madalina Nastase, Jamellen Steininger, and George Villas portray others within the community, all sharing other roles represented within this piece. Stephanie Shroyer’s stage direction keeps the flow going with its blend of vast characters and broad circumstances.

Frederica Nascimento’s senic design appearing on stage shows the village as a place loaded with worn wooden stands that shows off the area in a bit of disarray, proving that the war’s aftereffects made the community placed in a worse state, unless it was never in any better shape to begin with!

Along with the setting, there are a few musical interludes embedded in the continuity. This is only to bring one episode linked to another, but nobody really breaks out in song as to what one would find in a traditional musical.

It’s not often to see a play as THE CAUCASINA CHALK CIRCLE perform in any legit theater. For those that desire something light and snappy, it’s recommended to venture off to another playhouse. For those that are bold enough to experience a play that is more fruitful in spirit, this is the production to take advantage of. It’s indeed worth its time and space!

THE CAUCASIAN CHALK CIRCLE, presented by the Antaeus Theatre Company, and performs at the Kiki & David Gindler Performing Arts Center, 110 East Broadway, located between Artsakh Avenue and North Brand Blvd., Glendale, until August 26th. Showtimes are Monday, Fridays and Saturday nights at 8:00 PM, and Sunday afternoons at 2:00 PM. For ticket reservations and for more information, call (818) 506-1983, or via online at
THE LION KING (Disney) tells the legion of Simba (voiced by John Glover), the cub that was born to Mufasa (James Earl Jones) the royal leader of their kingdom on the African plains, and his “queen” Sarabi (Alfre Woodard). Simba would one day become the next heir to rule as king. Although the king’s animal subjects welcome this latest entry to the royal family, one animal isn’t very keen to its welcome. Mufasa’s elder sibling Scar (Chiwetel Ejiofor) feels that he should have been king as he is the eldest, and never forgave his younger lion brother obtaining his rule. Scar has an evil plan to overthrow Mufasa’s dominance. Teaming up with Shenzi (Florence Kasumba) the leader of a pack of hyenas, they plan to get rid of Mufasa and his son in order to gain control of their native land.

This latest re-imagined version of the 1994 release of the same name that became the “crown” of The Walt Disney Company’s animation renaissance period, is what can be called a film with a “live action” twist where all of the animals and the African landscaped wilderness backdrops resembles a realistic looking setting. In fact, everything seen in this feature has been created as highly detailed computer generated imagery, or “CGI” as its known in the industry. In other terms, it’s another animated feature, but not to be confused as another two dimensional “cartoon”. Unlike the original ’94 release where all of its imagery is akin to a traditional “cell and hand drawn” cartoon–the type that made Disney world famous, this one looks realistic, feels realistic, and resembles an actual setting where all of the animals can talk by moving their lips and mouths, and act and move on cue. But again, it’s all moving imagery that remain as digital pixels and related computer generated files housed on massive hard drives!

The movie itself has all of the main characters found in the original, such as Zazu (John Oliver), the “footbird” to the king, the wise baboon Rafiki (John Kani), Nala (Beyonce Knowles Carter), Simba’s friend and future queen, and Pumbaa and Timon (Seth Rogen and Billy Eichner) who serve at the film’s comic relief; characters that are oblatory in Disney cartoons.

The many similarities that are found to the original ’94 film and this ’19 version is its plot. Jeff Nathanson’s screenplay is based on the original script penned by Irene Mecchi and Jonathan Robert and Linda Woolverton that uses the same content flow while adding a few bits and pieces of dialogue that makes this movie more appealing to an early 21st century crowd, as well as adding its comical touches with a bit more snarkiness. It also maintains the same music score by Hanz Zimmer and the songs that made this title famous as penned by Tim Rich and Elton John. These touches were kept for continuity purposes.

Directed by Jon Favreau, THE LION KING is a title that is well know to Disney fans and the domestic families that were and are weened to the lifestyle this media company has created. It was perhaps the biggest of all of the “cash cows” extracted from this company before they were involved in Marvel Comics and Star Wars properties, and when Disney got into the musical theater business. (The Lion King stage musical still plays on Broadway!!) In spite of those sucesses, this feature is ideal for those that grew up with the original cartoon, and for the later generations that view this title by way of home video and through streaming. Kids under the age of eight may be a bit overwhelmed, while the older ones might find it as appealing as the adults.

For those still seeking live action versions of the Disney animated features, there will be more arriving down the pike from The Little Mermaid to Mulan, all coming soon to a theater near you!

This film is rated “PG” for non-graphic intense violence. Now playing at multiplexes nationwide.
is a presentation of Linear Cycle Productions
@AccessiblyLive (Twitter)
(Accessibly Live’s channel on YouTube)

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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!


This article is once again about television, that device that one can view moving image programming projected on an electronic screen. This writer is using the slang term of this device that originated when TV sets consisted of a glass and lead cathode-ray tube that varied in screen size, usually around 21” is size. Since 2005, TV sets changed from CRT to liquid crystal display (LCD), plasma display, and organic light-emitting diode (OLED) screens. So calling a TV device as “the tube” would be the same as calling a radio as “the wireless”. But this is getting off the subject on hand.

This article will speak for the method on how people receive their moving imagery (i.e. “TV shows”) through their devices. And in this day and age, the choice of getting access is through streaming, a method of obtaining content through an internet-based connection.

Since there are many players in the streaming biz such as Hulu, Amazon Prime, CBS All-Access, and the biggest one in the TV universe, Netflix, one would believe that a TV fan would not know what to watch. A recently released marketing report states otherwise.

According to a report filed by The Nielson Company, the firm that’s been rating the TV audience for decades, it states that for the first quarter of this calendar year (January-March, 2019), the average domestic TV viewer spends just shy of twelve hours a day plugged into some kind of electronic device that sports a viewing screen. To be exact, the time spend per day comes to eleven hours, twenty-seven minutes. (11:27)

In spite of those long hours, some two thirds of those viewers knows exactly what they want to watch rather than to tune in aimlessly, a term once known as “channel surfing”. And much of that same viewing comes from user-time shifted television. And for those that are too lazy to look up the meaning of what “user time shifted television” means, good ol’ Wikipedia states that this method of viewing media content “…is the recording of programming to a storage medium to be viewed or listened to after the live broadcasting. Typically, this refers to TV programming but can also refer to radio shows via podcasts”

Those of a Millennium and Gen-Y age (18 through 34 years) spend the most time of choosing what they want to watch, roughly nine minutes, forty seconds. If those of that same age bracket can’t decide where to plop their eyeballs, they either stick to a favorite channel or source to see what’s on, or they view shorter length video content that runs anywhere from ten minutes or less from various sources. (YouTube, etc.) Those aged fifty and up i.e. the ever lovin’ Baby Boomers, spend the least amount to time of what to watch, just shy of five minutes. (4.9 minutes to be exact.) This shorter time comes from the moments that this age group had access to a printed program guide that listed in detail the amount of channels available in a geographic area, and what programs were on and on what time of day. A few of these even recall when television was limited to just a handful of channels that were obtained through over the air means. And depending on where these viewers were located, those channels numbers could be as little as three separate sources. This limitation give them little to no other source to grab content.

Although viewing programming through over the air means is still possible, folks are going through streaming. Perhaps the biggest reason of them all is the fact that it’s a whole lot cheaper to subscribing to a cable and/or satellite service where one has to fork over as much as $100.00 per month to get over a hundred channels and only to tune in as little as two channels. This is due to the fact that people’s tastes in TV content is totally different. If one is more of a sports fan, one will tune in to Fox Sports, a regional based sports channel, or even ESPN. A movie fan will tune into any source that airs features, from Turner Classic Movies to The Movie Channel. News junkies has their CNN, Fox News, MSNBC, and so on.

But when it comes to streaming, there will be other players entering the fold. Warner Media will have their own streaming service out soon, and Disney is getting their Disney+ service out where they have stated that everything in the Disney library will be available! This may mean that anything The Walt Disney Company has created in the last ninety-six years will be available for viewing. This writer will wait and see if such long forgotten movies such as Tonka, Follow Me Boys, The Gnome Mobile, and Monkey Go Home will be available for entertainment purposes. And this doesn’t count what Disney will do with the 20th Century Fox library! It’s been years (decades?) since this same writer has seen any of the movies starring Will Rogers, or the Mr. Moto series with Peter Lorre as the Japanese sleuth of the same name. (Don’t forget the Charlie Chan movies too!)

However, it’s summertime, and folks are suppose to be in the great outdoors taking up mom nature as her best! Then again, since TV can be taken anywhere where one goes providing there is WiFi access, one can catch up on quality binge watching while camping in the woods! At least one is indeed in those great outdoors!

The Garry Marshall Theatre in Toluca Lake adjacent closes out their 2018-19 season with the stage musical THE SPITFIRE GRILL, a melodramatic story about a young woman who arrives in a small town to rebuild herself, and the woman who gives her that opportunity, adding it all with a unique concept.

Rachel Sarah Mount is Percy. She just got released from state prison over a manslaughter rap she feels the cause was justified. With a pocketful of petty cash as prison “gate money”, the clothes on her back, along with a clipping from a travel guide consisting of a picture of an outdoor autumn scene, she arrives in the community in late winter where that fall picture was captured in; Gilead, Wisconsin, located within a lot of trees and nothing much else. She stumbles upon a local diner called “The Spitfire Grill”, run by Hanna (Sarah Saviano), a feisty and hard scrubbed woman. She gives Percy a chance to prove herself worthy as a cook and waitress. This place doesn’t get much business with the exception of the locals that live in the area. Percy makes her first friend since she was spring from the joint, Shelby (Ashley Argota), a fellow co-worker. The others that visit this spot is Effy (Linda Kerns), a mail carrier, Joe (Erich Schroeder), the sheriff and Percy’s parole officer, and Caleb (Jonathan Regier), Hanna’s nephew. Although Hanna had this diner under her wing for years, she wants to sell the place for whatever she can get. Alas, there are no takers. But Percy suggests an idea to Hanna. Why not start a contest where for an entry fee of one hundred dollars along with an essay on why the contestant desires to take over the grill, one can win the place as a prize? At first, Hanna thinks that idea is insane. But since she doesn’t hold much of a choice, she goes for the idea. Before long, letters come pouring in (along with a crisp “c” note with each entry), where the best essay received will win the entire place. But there are other issues to weed out among the group that lives in this small town. Will Percy prove herself as a model citizen? Will Hanna get enough money from the entries to make up her losses from running this place? And who is this strange visitor that Percy encounters? Is this visitor (performed by Nicu Brouillette) a real person, or is it a spirit of someone long past?

This musical, with book by James Valcq & Fred Alley, with musical score by Valcq and lyrics by Alley, and based on the 1996 “indy” film release written by Lee David Zlotoff, is a music that is more dramatic and sober in frame than a traditional musical of this ilk that would be more upbeat and charming. Although this program does hold a distinct charm, the mood shifts from being dramatic with hints of comic relief in the first act, to more moody and sullen by its second. This sense of emotion also counts for the musical numbers performed. Its sound is a blend of rural folk, country & western-esque, with suggestions of an ethnic concept that is “American” in flavor rather than taken from some world nation of origin only mentioned in long forgotten back issues of National Geographic. This form of pacing and style sets the sentiment of how the story and songs unfold, making this stage musical a show that is semi-deadpan solemn and consequential, rather than something where everyone is happy while prancing about.

As to the players. Each one appearing not only keeps their acting skills in check, their musical abilities remain as their highest appeal. Most of the cast members play an instrument during the musical numbers as conducted through Anthony Zediker. Zediker performs on piano during selected productions, shared by Lauralie Pow and James Lent, while the other instruments–fiddle, guitar, and accordion, are performed on stage by almost all of the players (rather than from the background or off-stage) during their appropriates cues. Rachel Sarah Mount provides the best of the vocal harmonies that are well suited for the score this show presents.

Among the visuals seen on stage, Tanya Orellana’s scenic design shows the wooded areas as existing by way of standing vertical wooded planks of various lengths (with images of trees affixed) that bend toward its lower half to stage front as its backdrop, with scant pieces of furnishings consisting of a table with chairs (the dining area), and a fixed positioned 1950’s-era O’keefe & Merritt stove on stage left to represent the kitchen where Percy creates the “fine cuisine” that made The Spitfire Grill stay off the Michelin guidebooks. Michele Young’s costuming has every cast member don outfits that are rural and rustic in nature, but is more of the “Goodwill” variety rather than something from the Eddie Bauer collection.

This reviewer can’t compare this musical stage version to the feature film is was extracted from. However, the creators of this stage program as viewed on The Garry Marshall Theatre floorboards and directed by Dimitri Toscas has its moments. Again, don’t expect high comedy and garish musical numbers. It’s just a musical piece that is as green with hints of brown and beige as its backwoods. And cheeseheads from Green Bay be damned!!

THE SPITFIRE GRILL, presented by and performs at The Garry Marshall Theatre, 4252 West Riverside Drive, Burbank, until August 11th. Showtimes are Wednesday through Saturday nights at 8:00 PM, and Sunday matinees at 3:00 PM. Additional performances on Saturday afternoon, July 27th at 2:00 PM, and Sunday evening, August 4th, at 7:30 PM. No performance on Wednesday, July 24th and 31st.

For ticket reservations or for more information, call (818) 955-8101, or online at
Will Geer’s Theatricum Botanicum continues its repertory season of classic plays with Thornton Wilder’s THE SKIN OF OUR TEETH, that tells the tale of the story of the human race through the life and times of the Antrobus family living within the wilds of the physical domain called New Jersey and all points in between.

The Antirobus clan consists of husband George (Maek Lewis) wife Maggie (Melora Marchall), their two kids Gladys (Gabrielle Beauvais) and Henry (William Holbrook). Adding to the family is Lilly Sabina (Willow Geer), the hired help who serves as the maid.

The first act takes place at the Antirobus home where the Ice Age is taking its toll. Although it’s the middle of August, both the family and the common folks outside try to stay warm, including the family pet dinosaur and mammoth! The second act brings the brood to the shores of Atlantic City where a convention or sorts is going on, as well as a beauty content. This brings the story to the third and final act where a war has just completed. The family by way of the battle lines are gathered once again, including maid Sabina acknowledging that through extreme cold, floods, beauty pageants, and the annals of war, they have all made it through the skins of their teeth.

This play, written by the same author who gave the theater world another modern classic, Our Town, developed a storyline that is far from being linear in fashion. Although it features enough social commentary and satire to brings its focus come across, there are hints and shadows to other stage plays that were around during this period. In this case, that era is c.1942, the year this production made its first stage appearance. There are doses of such programs as Hellzapoppin (for its frantic runaround zaniness), Ken Murray’s Blackouts (for the suggestions of burlesque), and even All Quiet On The Western Front (for the horrors and aftermath of The Great War a.k.a. World War I.) Although the three parallel stage shows may be now long forgotten to the post-modern (early 21st Century) audience, this production as seen at the Theatricum Botanicum progresses for its quick direction, visual metaphors, and its keen satire that makes more sense that ever before! The troupe consisting of the main ensemble as the Antirobus family keep their pacing advance in a unique clip! The role of maid Sabina is played by Willow Geer, the newer generation of performers that is part of the Geer family acting dynasty. She performs her role that is sweet in nature with touches of giddiness for personality. The rest of the troupe is just as amusing, although Willow does steal the show to itself.

In addition to the main cast, Jonathan Blandino appears as the narrator, and Ernestine Phillips appears as an Atlantic City boardwalk fortune tellers that does know all and see all using a sense of mystery and spiritualism.

Directed by Ellen Geer, THE SKIN OF OUR TEETH was far ahead of its time. It may not have been understood when it was first presented to the theater world, but it got better over the generations. It was not the first artistic piece created that suffered this kind of fate, and never proved itself to be the last! But the early 1940’s was still living with the annals of vaudeville, and that device called “television” would not come around for a few more years. But this isn’t TV! It’s another fine theater production as performed within the rustic canyons of Topanga!

THE SKIN OF OUR TEETH, presented by and performs at Will Geer’s Theatricum Botanicum, 1419 North Topanga Canyon Blvd, Topanga, until September 29th. Showtimes are Saturdays, July 20th, August 3rd, August 31st, and September 21st at 8:00 PM, Sundays, August 11th, 18th, September 8th and 29th at 8:00 PM, Sunday, July 28th at 4:00 PM, Friday, August 23rd at 8:00 PM, and Saturday, September 14th at 4:00 PM.

Other programs that are performing in repertory are William Shakespeare’s Twelfth Night (through September 28th) with A Midsummer’s Night Dream (through September 2nd); Orson Welles’ Moby Dick-Rehearsed (through September 29th); and Henrick Ibsen’s An Enemy of the People (through September 28th). D.L. Coburn’s The Gin Game will perform from August 17th through September 29th.

For ticket reservations and for more details on all shows, call (310) 455-3723, or visit online at

One can also follow the Theatricum Botanicum through social media via Facebook, Twitter @Theatricum, and Instagram @Theatricum_Botanicum
Classical Theatre Lab of West Hollywood present’s Tirso De Molina’s THE LAST DAYS OF DON JUAN, the story of Spain’s prime red hot lover, and the consequences he faces for his ruthless deeds.

Carlo Figlio is the title character. A Spaniard from a source of wealthy means, he galavants the country side with the air of seducing woman, deflowering anyone of the female species. With his trusty servant Catalina (Christine Conte) at his side, he ventures through one town to the next, narrowly escaping those that find his galavanting not too proper through the eyes of the almighty church. He does get what comes to him when after a sword fight he encounters turns fatal, Don Juan is brought to justice by spiritual law when he is taken away by the Band of the Damned for eternity.

This play was first presented during the Golden Age of Spain whose period was in the 16th and 17th centuries. (The play itself takes place in the early 1600’s.) It has much of the grace and charm that this nation, one of the most powerful counties in Europe at the time, brought into the artistic world as it was known. In this version as translated and adapted by Nick Dear in the late 20th century (1990 to be exact), much of that drama that was contained into this work rings true in english proper.

As to this production. Carlo Figlio as Don Juan is just as cunning as the namesake suggests, a man who has it with the ladies, even though that, thanks to the governing church, won’t allow a maiden to have relations until marriage! Christine Conte as Catalina serves as the sidekick to the hero (or “anti-hero”) that shows amusing comic relief.

There are others in the cast as well, including (as listed in their alphabetical order), Virtic Emil Brown, Carolyn Crotty, Cesar Di Bello, Erin Fitzgerald, Stuart W. Howard, Nico Madden, Michael Sturgis, Ian Waters, and Alexander Wells.

The play itself is presented not on a stage, but a setting set in the middle of Kings Road park, a city park operated by the city of West Hollywood. The sets are minimal (use your imagination), the costuming and setttings by Susan Deely Wells are of the period, and the “stage” direction by Suzanne Hunt makes this program an ideal moment to experience live theatre in the great outdoors. There is plenty of shading, so sunscreen isn’t necessarily. And if one wishes to bring a picnic lunch, that’s idea as well. A picnic table is nearby, and even as stated at that table, one can still view this 400+ year old play unfold!

Many folks enjoy a summer time taking part in a theatre show that is presented outdoors/ This show will fit that bill. It’s also 90 minutes in length, making this production a perfect one-act. THE LAST DAYS OF DON JUAN isn’t exactly a “Shakespear-in-the-park”, but it comes awfully close!

THE LAST DAYS OF DON JUAN, presented by Classical Theatre Lab, and performs at Kings Road Park, 1000 North Kings Road, two blocks south of Santa Monica Blvd. at Kings Road and Romaine Street, West Hollywood, until August 11th. Showtimes are Saturday and Sunday afternoons at 3:00 PM. No show on Sunday, July 21st and on Saturday, August 3rd. Reservations can be made by calling (323) 960-5691, or via
e-mail at
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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!


That’s right folks! Television, or to be precise, media as a whole, is getting much smaller in size in terms of viewing space!

Or so says a report from eMarketer, a news source that reports on how digital is transforming marketing, media and commerce. The report stated that adults based in the USA aged 18+ will spend some three hours and 43 minutes per day on a mobile device this year, and three hours 35 minutes watching TV through a traditional television device.

Media devices in this case consists of smartphones and tablets. As to the phones themselves, users will spend just shy of three hours (two hours and 55 minutes to be precise) on a smartphone, with most of the time spent using an app of some type.

Electronic tables, the latest of the portable internet connected devices is lagging behind. The report also notes that a little over an hours time (68 minutes) are used on a tablet, with the same time using a dedicated app for the tablet’s usage.

Out of the many apps one can have on a phone, or on a lesser note, a tablet, the most method of usage is to listen to music, followed by social-networking based activity.

Perhaps the other well used element is to stream video content. YouTube is the most wildly choice to view media, and a good number of what one can find via the site holds shorter running times, usually around ten minutes or less. This amount of time is ideal to take part of viewing something or another on such a small screen, around 4” to 6” in size on a phone, and around 10” on a tablet device. This amount of time reduces eye strain one can get when attempting to eyeball moving imagery on a small piece of screen landscape.

And since such gadgetry is portable, anywhere one can connected to some wifi access, one can catch up on their favorite TV program that “airs” on a streaming channel of their picking (assuming that the channel requires a subscription and they are a subscriber) or on to a free(er) service to get what they want where. And since this is vacation time, many folks will be heading off to the beach, the forestry parks and regions, or to the desert and rural areas to see the sights while taking the time viewing the ball game or their favorite series. What can be better?

But fear not gang! Big screen TV devices are not going away! Granted, nothing beats taking a gander of a video program on a screen as big as eight feet in size. Alas, it’s far from being portable. But with that handy-dandy phone nestled within their hands, one can see the same programming no matter where one is!

Just think! If one is taking the brood on a camping trip to a national park, one can connect to the park’s wifi signals, and before one knows of it, one can view the shows to their little heart’s content while taking advantage of what the park has to offer. And if one has kids in tow, that’s even better! Since these tyke were weeded on media from day one, they won’t be bored at all! They can really appreciate this wifi service made available in the park. After all, what’s the point of visiting anyplace if one can’t remain on the grid?

OK…perhaps this writer was just a bit snarky in tone with the previous statments! We know that there are folks that are aware when to say when in terms of using and not using their phone devices. And kids, or even young(er) adults, are not totally glued to their phones! Yes, they do spend more time on their phones that their parents, caretakers, or another else that may be over a selected age. But many of these smartphone owners have the ability to appreciate the world around them that isn’t part of an “A.I.” or a “V.R.” variety.

And for those that really thought we were kidding about national parks offering wifi, this is a true fact! Just visit the U.S. National Park Service website ( and check to find out which parks offer this form of service! (Not every park offers wifi, so plan accordingly!) This way, one can make their camping experience very memorable! After all, how is one going to take pictures with their phones on hand and to upload ‘em to the social media site of choice to prove to their family, friends, and followers that they actually visited this place they are blogging and tweeting about?

Theatre 68 of North Hollywood continues its limited run of its 16th Annual One Act Festival. Entitled Onward We Go, the program consists of an anthology of six new short plays written, directed, produced, and performed by the members of the Theatre 68 theater group that speak about various topics about life as its known–or not!

The six that are featured consist of (listed in their order of appearance), The Ride written by Stacy Toyon and directed by Jonathan Moreno and Narmar Hanna that star Paula Jessop, Barbara Keegan, Brendan Dunleavy, Valentina Tammaro, Nick Puorro, Yasha Rayzberg, Malik Bailey, Altara Michelle, and Angelea Yee: The Janitor written by Allegra Leal and directed by Misao McGregor, feature Valentina Tammaro, Wade O Alden, Stacy Toyon, and Sofiane Madi: The Plant and the Pot written by Molly Leach, and directed by Sarah Haruko with the cast Laura Siskoff, Valentina Tammaro, Toni Perrpta, Yasha Raysberg, and Nick Puorro: Aunt Janice written by Jason Kyle, and directed by Brendan Dunleavy, star Malik Bailey and Stack Toyon: Connected written by James Medeiros and directed by Vikram Bhoyrul, featuring Sofiane Madi, Nick Puorro, and Sarah Haruko: and Bury the Cat written by Val Gehley and directed by Molly Leach, with Paula Jessop, Altara Michelle, Sarah Haruko, Toni Perrotta, and Angela Yee.

Although the theme is Onward We Go, each story, be it as comedy, drama, or a hybrid of both, speaks upon the notion of “us going”, but it’s not necessarily into a physical sense of getting from one location to the next. The plays themselves may be short in length, but are long in creativity, style, and attitude.

This method of theater are for those that prefer a selection of plays that are of “bite size” quality, running fifteen minters in length or less. It’s also ideal for those that are of a short attention span mode as each little episode as seen on Theatre 68’s “black box” stage makes it perfect to witness a cast of players that use their own technique to carry their stories out sans the wait!

Theatre 68‘s 16th Annual One Act Festival: Onward We Go performs at the Theatre 68 performance space, 5112 Lankershim Blvd. North Hollywood. Remaining performances take place on Thursday, July 11th, Friday, July 12th, and Saturday, July 13th at 8:00 PM.

For ticket reservations, visit
Son of Semele Ensemble presents Jaclyn Backhaus’ MEN ON BOATS, a saga about ten stouthearted men who take part on an excursion to discover America’s final frontier, and the effects presented to discover what mother nature provides among herself.

The year is 1869. The place is the western United States. Along the perimeter of what is now The Grand Canyon, a team of explorers lead by single armed John Wesley Powell (Melissa Coleman-Reed) are set to explore and map these parts of the uncharted region that exist or known to exist. His team, consisting of hunter O. G. Howard (Shelby Corley), Englishman Frank Goodman (Taylor Hawthrone), veteran soldier John Colton Sumner (Tiana Randall-Quant), O.G.’s younger sibling Seneca Howland (Ashley Steed), map drafter Andrew Hall (Thea Rodgers), galley cook W. R. Hawkins (Liz Lanier), Bradley (Cindy Lin), and John Powell’s elder brother known as Old Shady (Elsperh Weingarten), travel along the rough Green and Colorado rivers on four boats to see what lies ahead. The trip holds excitement and danger. There are many times where boats capsize, previsions become lost and destroyed, and death is always around the corner. But through this hell and high water, this team is set to recognize the regions that progress forward through this troupe for the sake of the nation in which they serve.

This single act play and making its Los Angeles premier through Son of Semele Ensemble, presents this program that does not feature any real boats as the set itself uses props that are composed of building materials consisting of ladders, a rolling scaffold set, a tool box, and scarps of wooden planks with a backdrop of plastic opaque sheets meant to keep the dust clouds at bay. (Carlo Maghirang designed the stage set this method!) Not only there are no sets depicting nature, there are no men in the cast either as the ensemble are all women or those that are not of the male persuasion. This gender change enhances the drama that exists within this stage program. And the performers appearing are not necessarily causation either as the diversity levels are at its peak. The cast of ten players work well with one another that shows off the so-called “he-man” stance that is required to fulfill such an excursion. Skill, wits, and strength are key elements here, and these women (and equivalent) brings these characteristics to its fullest.

Although the story takes place in the middle 19th century, the playwright creates much of its dialogue as spoken by the characters with lines and phrases that are more post-modern 21st century than 1860’s. This action may have been intentional as such an excursion with the drama that’s contained is timeless in nature. Barbara Kallir’s stage direction shows of these (wo)men that battle the elements witnessed, if not dealing with the drama staged with one another!

It’s no real spoiler alert to state that John Wesley Powell’s expedition was indeed a success. This trip eventually extended itself to another excursion held two years later. Directed by Barbara Kallir, MEN ON BOATS is a journey that holds water, and those treading water manages to keep afloat, not matter what twist and turn of the raging river may present. Thanks to these men, there would not be the travelers that seek the regions that show off the natural beauty this part of the nation holds. And thanks to social media, many a selfie exists as posted via an Instagram and/or Facebook account. But for now, the women and those of color rule here, another part of what makes America great–with no political viewpoints given or implied!

MEN ON BOATS, presented by and performed at the Son of Semele Ensemble, 3301 Beverly Blvd, Los Angeles, until July 28th. Showtimes are Friday and Saturday nights at 8:00 PM, Sunday afternoons at 5:00 PM, and Tuesday evenings at 7:00 PM.

For tickets and for more information, visit the theatre ensemble’s online presence at
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!


It’s that time again! It’s the moment where we review on how this newsletter stands among you readers, as well as what we have “up our sleeves” in terms of the progressing we plan to create.

Normally, we start out in our report giving boring yet important facts and fixtures of how we did in the previous fiscal year. We tend to rattle off such stats as what our circulation was, how many readers “hit” our web site in a given period of time, what kind of readers we impress and so on. However, although those number are indeed criterial in what we do, those same stats are relatively dull and boring to you the readers. A few don’t even give a hoot in hell in knowing how many adults we reach and its impact to those adults. Those numbers are only for our advertisers that know how much ad space to buy. However, we fool ‘em right then and there since we don’t carry ads in the first place! And even if we did, would you really tend to care how much we advertised to place an ad somewhere? Unless you are interested in buying up ad space, that news would be all for naught.

Now that you know what we won’t report on, we will emphasis on what we will. And that news consists of what we plan to serve up within our “pages” in the next year. So pull up a chair and soak up on all the news! You ready…?

First of all, we will continue to report on the usual subjects such as film and theater reviews, as well as elements associated with the media. Also, we will occasionally open each issue on a topic that is connected to the media at large, be it from a wide prospective, or those that connect to subjects that are found through a mass scale.

However, it appears that other sources that are related to what we provide in terms of journalism are covering the same notions. This is a fact that we have been experiencing within the last few years. Social media is also expanding as well. It appears that if one desires to get the information they are looking for, those parties do tend to turn to social media. (You already know who the players are, so we won’t wast our space reminding you on who or what they are!) There are other places where folks find these facts. Not so much to discover second (or third) opinions, but to find out what is real news and what is anything but!

One type of topic we have discovered that tends to attract more readers per issue is when yours truly write about a subject that is more of a personal antidote than a hard news item that’s full of facts, figures, and boring statistics. When a topic is discussed that starts out from an experience this writer went through, more readers tend to gaze upon the story.

To give you an idea, we here at Accessibly Live Off-Line subscribe is a service conducted by a media analysis firm that can register how many “hits” one receives through a specific web site in a given period. Those hits vary each week and on each issue. This form of measurement is used to impress ad buyers proving to those same buyers that their ads will be seen per a given time cycle. Generally speaking, the more hits a website receives, the more the web site can charge for ad space!

When going through our audit for the previous yearly quarters, (January-March, April-June, July-September, and October-December), we have noticed that when the main article–the one that begins each issue per week-speaks about a personal story or topic that is based upon the day in the life of yours truly, the amount of hits spike upward. When the lead story is about a topic on, let’s say, how those engaging in media are affected by such use, there are not as many hits for that issue. In other words, when the subject is semi-autobiographical, the circulation rises. If the head topic is more of the generic variety, the circulation remains steady or even falls. This was especially true last year when this same humble writer composed a multi-part essay about what I did during my summer vacation. Those issues’ circulation increased by as much as 25% compared to over the previous quarter. It was in fact the most read article(s) we posted during the 2018 calendar season.

For those that desire to catch up in our recent back issues and to (re)read the articles itself, please referrer to Vol. 23-No. 32 through 34. Our readers love ‘em, and perhaps you will too!

So this means for the next fiscal year, Accessibly Live Off-Line will concentrate on those personal stories, and limit ourselves to the boring yet important matters. If by chance there isn’t an antidote to note, we will skip the head article and get into the reviews. Those same reviews tend to become read more than its lead story, but not as often as an issue that starts off from the secret files of this humble writer.

In the mean time, we do wish to take a bit of time to thank you all for having us be a part of your domain each and every week! We are honored to have connection of your company, and we look forward in serving you for the next few seasons to come!

-Enjoy and ride, and we will talk to you later!!

The Glendale Centre Theatre presents ELVIS ’68, a musical presentation on how a king regained his throne to rein within the kingdom and rock and roll while performing in front of millions of his loyal subjects!

In the latter days of the year 1968, a TV spectacular was going to air starring a hillbilly cat from Memphis named Elvis. (Casey Marshall) The idea was to feature him in a concert that would show off his real talent, something that became missing within his career for quite a while. His only public appearances were through a string of movies that were just “ok”–full of semi-forgettable songs with very thin plotlines to boot. TV director Steve Binder (Robert Downs) was on helm to showcase a man who was misunderstood by his acting, but to prove that he held genuine musical talent. So with a trio of musicians to back him up along with another trio of back-up vocalists, this one time only TV program titled “Elvis”, would wind up as his comeback–a return that was long in the making!

This stage production, written and directed by Brian Newell, was based upon an actual program that aired on NBC in December, 1968 under the title Singer Presents Elvis. (The “singer” in this case was the name of the company that bought ad time for the TV production–Singer sewing machines!) In the GCT version, the stage set resembles that actual set as seen on TV. The set itself is just a small stage platform with a mic on a mic stand and enough space for The King of Rock ‘ Roll to do his thing. Donning a black leather outfit with matching shirt and pants. Casey Marshall as Elvis performs a selection of tunes The King made famous–Jailhouse Rock, Love Me Tender, Blue Christmas, and a host of others! Robert Downs as Steve Binder steps into his character between numbers telling the audience a few behind the scene stories on how this program was created, and how it relaunched Elvis’ career that continued from that point on until his death some eight years later. Although the plot in this show is minimal, the music and talent fully fills the bill. Backed with a band that features Jack Majdecki on guitar, Mark Davidson on bass, and Tom Zygmont on percussion, along with Christa Hamilton, Kristen Hamilton, and Andrea Valazquez on back-up vocals, this stage program is a real treat to experience on GTC’s theatre-in-the-round setting.

Many of the regulars that have been involved in past GTC shows also make their mark in this stage production, from Angela Manke’s costuming and Steve Applgate’s musical direction. These talents provide a very enjoyable and informative set that demonstrates that Elvis was indeed, Elvis!

And for the record, one can actually view this TV special at The Paley Center for Media in Beverly Hills. But for those that desire their live theatre, ELVIS ’68 will fit that bill! Elvis himself may have long left the building, but his music and image does live on! Thunkyaverymuch!

ELVIS ’68, presented by and performs at The Glendale Centre Theatre, 324 North Orange Street, Glendale, until July 27th. Showtimes are Friday, and Saturday nights at 7:30 PM, Thursdays, July 11th, 18th, and 25th at 7:30 PM, with Saturday and Sunday matinees at 2:00 PM.

For more information and for ticket reservations, call (818) 244-8481, or via online at
YESTERDAY (Universal) stars Himesh Patel as Jack Malik, a humble yet struggling musician living in a small town off the coast of England that plays gigs when he can get them when not working at his real job in a big box store placing goods on the shelfs. His manager Ellie Appleton (Lily James) and part time girlfriend tries to get his gigs that actually pay something when she isn’t working her real job as a middle grade school teacher. He lives with his mum and dad, and has his best friend Rocky (Joel Fry) to fall back on. Things begin to change when while riding back to his house late one night on his bike, a strange event occurs. The entire world’s power goes out for a few seconds. At that same moment, Jack gets hit by a bus. When he comes to, everything seems to be the same. After he recovers, his friends give him a new guitar since his old one got destroyed from his accident. He tries it out by playing the song “Yesterday”. His friends never heard the song before. Thinking that their lack of knowledge of a Beatles tune was a joke, he discovers that The Beatles never existed! So he hatches an idea. What if he learned all of the Beatle song catalog and takes it as his own? He plays their songs as his own works and becomes popular, even taking on a following of fans! Soon he teams up with a high power L.A. based manager Debra Hammer (Kate McKinnon) who sees his talent and the money they could all be making. But fame has its own price as Jack realizes that, although he could get away with what he is doing, he feels that he is losing out on what perhaps could be the real love of his life.

This latest feature from director Danny Boyle, who in the past has helmed movies that features characters that become situated in places and spots due to rather direr circumstances, presents another feature that has a meek yet lovable protagonist of Jack Malik as played by Himesh Patel, and places him into a conflict where he can hardly take it all, although what he really wants is no longer available to him–in this case, it’s his first manager and almost girlfriend Ellie as portrayed by Lily James. Although this film is very British in flavor (or is it “flavour”?), this geographic location only makes this movie much better, or at least for an American audience! (Since the Beatles are from the British empire, why not this movie?) Richard Curtis’s screenplay with story by Jack Barth and Curtis is also very British where the characters use some minor British slang names and phrases within their speech. However, one would have to listen for those names and phrases to make any difference which in this case, it doesn’t matter much!

Of course, it does feature many of the tunes that The Fab Four made famous as performed by Himesh. In addition, many of the people that appear in this feature are lesser known to American audiences! (Himesh Patel is best known as a regular character in the long running English TV soap opera The EastEnders.) Having a movie that does not feature will-known names (to Americans at least), doesn’t distract much of the plotting and to the characters it presents. Although two people the movie features, musician Ed Sheeren and TV talk show host James Corden appear as themselves, the rest of the cast hold on to their merits as they would be rather set for their names in moviedom.

As expected, this movie may cater toward an older crowd who tend to stay away from super hero action features, all-ages (i.e. “family friendly”) animation titles, bloody horror flicks, or whatever Hollywood will churn out during the summer (and money making) months. For that demographic this reviewer speaks for, YESTERDAY will fit that bill. Then again, many of the younger set has discovered Beatle music over time and tide from others that “were there” when Beatlemania made its hit, or perhaps through their discovery on their own. Vinyl has made a comeback over the recent years, proving that she does love you. (Yeah, Yeah, Yeah!!)

This feature is rated “PG” for mild cussing and for accident related bloodshed. Now playing in all of the usual set of multiplexes nationwide.
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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!