The location is in Washington, D.C. where the Museum is a public state-of-the-art, innovative, global, and educational institution with the purpose of inviting all people to engage with the Bible. It is one of the most technologically advanced and engaging museums in the world. Listen in on a tour:

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CEO Ken McKenzie gives The Balancing Act's Olga Villaverde a tour of the impressive, 430,000-square-foot facility, which is located three blocks from the United States Capitol.

Showcasing rare and fascinating artifacts spanning 3,500 years of history, the museum offers visitors an immersive and personalized experience with the Bible, and its ongoing impact on the world around us.

Museum of the Bible does not promote any religion. It’s all about the Bible: the best-selling, most debated, most influential book of all time.

Stay tuned for an inside look. You don't want to miss this!

Visit: http://www.thebalancingact.com

Like: https://www.facebook.com/TheBalancing...

Follow: https://twitter.com/BalancingActTV

#TheBalancingAct #BalancingAct 105514 Location: Washington DC Image: Pinterest

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Just click on the link below: . https://tinyurl.com/4z5jf9na Thank you again for your kind gesture.

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It may be sold cold, but it’s the hottest thing out there right now in the beverage industry. Cold-brew coffee has seen explosive growth. And nowhere is that more evident than at a place in Brooklyn Center.

The Birth of Bizzy Coffee

Inside a 7,000-square-foot warehouse along Freeway Boulevard in Brooklyn Center, Andrew Healy and Alex French have tapped into something that has taken off. They co-founded Bizzy Coffee, a cold-brew coffee that is part of the fastest growing segment in the beverage industry.

“The category keeps growing,” said Andrew Healy, co-founder of Bizzy Coffee.

The main difference between hot and cold-brew coffee is temperature and time.

“With cold brew, we’re taking ambient room temperature water and we’re soaking those coffee grounds in it for 18 hours,” said Healy.

Image: Coffee Project NY - Downtown Brooklyn

www.downtownbrooklyn.com

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The Breakfast Buffet Clip #000101 - Motel Sticks

by BatDoc Blog

Topics batdoc, blog, breakfast, buffet, doc, lauren, podcast, funny, comedy, humor, morning, show, carolina, school, broadcasting, csb, charlotte, nc, north, radio

A Clip from The Breakfast Buffet Morning Show. Stock

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"New York Is Where I'd Rather Stay": Green Acres Musical In the Works

BY ANDREW GANS

JULY 23, 2012

A Broadway-aimed musical version of the 1960s TV sitcom "Green Acres" is in the beginning stages, according to Variety.

Eddie Albert and Eva Gabor in Green Acres

Richard L. Bare, who directed more than 165 of the show's episodes, is working with the production company Hemisphere Two on the musical. Bare has already written a first draft of the musical's book, although no composer, lyricist or director is currently attached to the show.

The "Green Acres" musical, according to the industry paper, will pick up "as if it were another episode of the series."

No timeline for the production has been announced. Playbill.com

Here are are a few new twists on the stage play’s development:

The television series, which ran on CBS from 1965-71, co-starred Eddie Albert and Eva Gabor, a New York lawyer and his wife who try to cope with living on a small farm in Hooterville. The following is a discussion about the adaption. Green Acres The Musical: Fix it (First Listen)

Book, music and lyrics by Tor Hyams and Lisa Rothauser

Directed by Tom Caruso

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Imagine yourself driving thru the ends and outs of maddening street traffic, to and fro a performance of the evening, only to end up at the wrong place, wrong entrance and at the wrong time. Buster and Jobyna Escape From Room 101 is a 25 and 1/2 minute album - produced in the spare bedroom of a mobile home in Eugene, Oregon from August 2018 - 2019 - utilizing a 1/4" tape deck, 2 condenser microphones, an analog mixer, and a couple of digital recording devices.

When played from start to finish it is a complete folktale.

When played singly - the individual tracks are short stories or poems illustrating the intense aberrations of our society.

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Instructions to the Audience

Topics audience, play, instructions, MC, stock image

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015- Mastering the Process and Journey to Broadway with Arbender Robinson

by Eryn Woo

Arbender Robinson joins us today on this episode of Going for Broadway. Arbender is a native of Chicago and a Graduate of Viterbo University. After his Broadway debut in Hairspray, Arbender has had many more successful runs in a number of Broadway shows in The Book of Mormon, the original casts of Beautiful: The Carole King Musical, The Little Mermaid, Ragtime, and currently as the Constable and Montparnasse in Les Mis (he is also the understudy of Marius), in which Eryn got to see if him in.  

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The show opened on Broadway at the 46th Street Theatre on May 5, 1955, transferred to the Adelphi Theatre on May 17, 1957, and ran for a total of 1,019 performances. It was directed by George Abbott, with scenery and costumes by William and Jean Eckart, dances and musical numbers staged by Fosse, musical direction by Hal Hastings, orchestrations by Don Walker, and dance music arrangements by Roger Adams.

The show starred Ray Walston (Applegate), Verdon (Lola), Shannon Bolin (Meg), Robert Shafer (Joe Boyd), Elizabeth Howell (Doris), Stephen Douglass (Joe Hardy), Al Lanti (Henry), Eddie Phillips (Sohovik), Nathaniel Frey (Smokey), Albert Linville (Vernon, Postmaster), Russ Brown (Van Buren), Jimmy Komack (Rocky), Rae Allen (Gloria), Cherry Davis (Teenager), Del Horstmann (Lynch, Commissioner), Richard Bishop (Welch), Janie Janvier (Miss Weston), and Jean Stapleton (Sister).

"Damn Yankees" is the story of a middle-aged baseball fan named Joe who sells his soul to the devil to become a great young player who can help his team, the Washington Senators, win the championship. But when Joe misses his wife and wants out of the agreement, the devil sends in Lola - Gwen Verdon, of course - whose motto is whatever Lola wants, Lola gets. But instead of seducing Joe, she falls in love with him. Pd

Most of the original Broadway cast joined Verdon in the film, though Broadway's original Joe was replaced by teen idol Tab Hunter, who's not much of an actor here, although his sincerity is touching. Verdon's comic Spanish accent and cartoonish Fosse strip tease make the song more a parody of a seduction—Lola, singing “Whatever Lola wants, Lola gets. And, little man, little Lola wants you. Make up your mind no regrets. Recline yourself. Resign yourself. You're through. I always get...”

The devil, called Mr. Applegate, is played by the sly Ray Walston, probably best known for playing the title role in the '60s TV show "My Favorite Martian." In the movie, as in the show, his big solo is a parody of an old-time vaudeville number, "Those Were The Good Old Days," in which he celebrates some of the world's worst atrocities. As Mr. Applegate, singing I see cannibals munchin' a missionary luncheon. Years may have flown off, but the memory stays, like the hopes that were dashed when the stock market crashed. Yeah, those were the good old days. I'd walk a million miles or more for some of the gore of those good old days. Before the Broadway opening of "Damn Yankees," the producers decide to cut a big production number, which enrages Fosse. But when Adler comes up with a new tune, he lights up. It's called "Who's Got The Pain." And it pokes fun at the grunting noises that come with the latest dance craze, the mambo. Pinterest image source npr.org

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Playwright and actress Evelina Fernández, a founding member of Los Angeles’ Latino Theater Company, was still in college when she was cast in the original Zoot Suit. “I’m not being overly dramatic when I say, ‘It changed my life,’” she said. “It set me on the path of making theatre my life’s work.” It also put Los Angeles—and the rest of the country—on notice that an audience in the Latino community and beyond was ready and eager to hear Latino stories. “It was the first time Chicanos were on the main stage at a regional theatre, and it was the first time Latinos attended the theatre in huge numbers,” she recalled. “We didn’t realize it at first, but it soon became apparent that we were making history in the American theatre, and that the play’s truths about racism and discrimination suffered by Mexican-Americans in the U.S. struck a full emotional and political chord in our community.”

This was by design. Center Theatre Group Founding Artistic Director Gordon Davidson had asked Valdez to consider writing a play that would reflect the history of Los Angeles. Valdez was already intrigued by the story of the 1942 Sleepy Lagoon murder case and the zoot suit riots, as well as by a pachuco character. In 1977, Davidson commissioned Zoot Suit for the Taper. “Apparent in the 1940s and obvious by the 1970s, the dynamic, growing multicultural milieu of Los Angeles was the undeniable wave of the future,” said Valdez. “Gordon had the wisdom and prescience to see it coming. Instead of resisting or ignoring change, he generously gave the voices of the new American theatre an opportunity to speak for themselves.”

And America, and especially Los Angeles, listened. Close to half a million people saw Zoot Suit in Los Angeles over the course of a year—first in its sold-out run at the Taper and then at the Aquarius Theater in Hollywood before it headed to Broadway. Valdez estimated that approximately half of those in attendance in L.A. were new theatregoers. “I’ve always believed that theatre is a creator of community and that community is a real creator of theatre,” he said.

That’s just one reason why he’s excited to be bringing Zoot Suit back to the Taper for its first Los Angeles revival in honor of Center Theatre Group’s 50TH Anniversary. For as much progress as has been made over the past few decades, the play is “unfortunately as relevant as ever,” he said. Valdez is also eager to introduce Zoot Suit to a new generation of Angelenos—many of whom will be returning with their parents and grandparents, who saw the show the first time around. www.centertheatregroup.org Image: scribd.com

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