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BLINK and You Might Miss Me

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Larry Blum, last name rhymes with 'glum,' is a hysterical, astute personality who speaks the truth no matter how embarrassing it might be. He is the go-to guy when you want to find out some gossip on anyone.

His hilarious one-man show, "BLINK and You Might Miss Me," is a treasure of entertaining tidbits about Blum's career in show business. He's not as recognizable as actors Matthew McConaughey or Al Pacino, but if you saw Blum you could easily pick him out of comedian line-up. His charismatic personality and bigger-than-life persona are what reels a person in and lets the audience bask in his clever storytelling.

Blum began his illustrious entertainment career as an on-camera talent escort. You've seen these people. They are the ones who escort the winners on an award show up the steps to receive their Oscar, Grammy, or Tony award and say a few words. At his show, Blum's overhead projection shows him escorting Academy Award winner Meryl Streep receiving her Golden Globe award for her role in the 1977 film "Julia." She would win her first Oscar for Best Actress in a Supporting role for the movie "Kramer vs. Kramer" in 1980.

Blum admits coming from a "show-biz" family. There was no temple on Saturdays but Chinese food was the staple Sunday dinner at his house. He collected everything about goddess Elizabeth Taylor. Blum was on a quest to becoming a celebrity. He was a dancer in the 1980's show and movie, respectively, "Solid Gold," and "Xanadu" starring Olivia Newton-John. He performed in the musical "Bye Bye Birdie," with Lucie Arnaz. He also auditioned for "A Chorus Line" at the Shubert Theatre in New York. Blum disclosed that he worked behind the scenes on a gay porn film. He made it sound innocent and was very nonchalant about it. He recalls his first dancing job at the 5th Annual Peoples Choice Awards back in 1979.

Blum was a contestant on the "The Dating Game" show. He had a regular gig on the television series "Roseanne" for about three years. To this day, Blum does spots on the daytime serials, "Days of our Lives," "General Hospital" and "The Bold and the Beautiful." He continues to work on the Tony awards--going nine years strong.
Blum's gregarious personality is infectious and extremely fun to watch. He has a special way of connecting with the audience, by providing them a front-row seat to his journey of hitting the big time. His resume is a long list of major accomplishments that gives him the right to be declared a star.

"BLINK & You Might Miss Me" runs Thursdays through Saturdays at 8 p.m., and Sundays at 3 p.m. until Sunday, February 6 at The Asylum Lab Theatre located at 1078 Lillian Way (Santa Monica Blvd & Lillian Way). Reserve online at or call (323) 960-1055.



More of the Fringe Festival


Despite its provocative title, Sharon Lintz’s Starf*cking is not a sensational tale of the seamy side of Hollywood. Her loosely linked monologues, along with a single two-person scene, are a sensitive examination of how the public’s obsession with celebrity can inform crucial moments in their lives.

Alternately humorous and poignant, the scenes play mostly in the privacy of a bedroom. Lintz’s pungent dialog is so specific that even characters we assume we know surprise us. Martin (Stephen DeCordova) longs for the now forbidden sensual pleasure cinema goddesses of the 30’s took from smoking. In the most overtly comic episode, the hilariously high-octane Mary (Kelly Schumann) relates how a marionette led her to an afternoon on a porn set. A genial Randy (Blaine Vedros), overshares a bit when he reveals his special use of Kurt Cobain as a sexual aid. While a rebellious Ruben (Tory Devon Smith) changes out of the suit he hates and dons his gay apparel, as he dreams of Egypt and Eminem. Patty (Dawn Joyal) makes us feel the heartbreak of a cancer patient calling on the young Elizabeth Taylor as her talisman. In the disappointing final scene, Meagan (Katy Yoder) and Jake (Ali Allie) bond over movies in a motel room.

Eric G. Johnson has directed the play with a sure hand, and the cast is eminently watchable. Though the final scene feels out of place, the rest of the production is worth your time.

Theatre Asylum Lab   June 7 – June 27, 2015   Tickets:

Suicide Notes:  In Their Own Words

Stan Zimmerman is always the funny guy. He's the writer with the jokes coming fast and farcical, from his work on the Brady Bunch movies, to countless TV shows, and his Fringe hit from last year, Meet and Greet, which went on to a regular run after the Festival ended.

But this year Zimmerman has moved out of his comfort zone with a project he is passionate about. A project born of his personal confrontation with the suicide of a friend and his realization people in pain are doing this all around us.

Suicide Notes:  In Their Own Words is simply that. Suicide notes collected from people who, except in once instance, have successfully taken their lives. Some are famous, most you wouldn’t know. But their pain and the horrifying darkness that surround them is palpable in their last words. Words that are surprisingly cogent and memorable. Some choose to explain, others to blame, still more try to make sure that no remaining loved one feels blame.

As writer and director, Zimmerman has smartly chosen to present the words in as stark a manner as possible. The four talented actors, Olivia D’Abo, Allie Gonino, Peter Onorati and Brendan Robinson read the notes from music stands. While they imbue the words with feeling, there is no grandstanding. These final words are treated with respect and dignity.

Zimmerman has added some important statistics about suicide to put the notes into context. The show is difficult and may not be typical Fringe fare, but it earns its place there. And it definitely has a place beyond the confines of the Fringe. For in a world where so many are heartsick, bullied, survivors of war, mentally ill or just achingly lonely, the message of this piece should be heard. A portion of the proceeds for the show will go to the Suicide Prevention Lifeline.

Theatre Asylum    June 19 – June 28, 20 15    Tickets:

Unemployed Finally

Heather R. Dowling has had 30 jobs in 30 years. She’s waited tables, worked in retail, been a reporter, even dabbled, highly unsuccessfully, at a Navy career. Sometimes the jobs were a search for meaning in life and sometimes they were a screen to hide behind. But in Unemployed Finally, Heather tells her tale of serial employment with good humor and the new-found knowledge that a job doesn’t necessarily make the woman.

Dowling is an energetic and engaging performer who makes you care about her crazy history, both the good and the bad. You root for her to find the right guy and then to take steps to realize the dream she’d lost track of. Of course, the title tells you that she’s made some changes, but her odyssey is worth your time.

Elephant Studio   June 7 – 25, 2015

Max and Elsa

With Max and Elsa, playwrighting team Mason Flink and Lindsay Kerns have focused on the lives of no one’s favorite two characters from The Sound of Music. The play’s capsule description raises the specter of hairy nuns in drag and over-the-top camp humor which is better appreciated when imbibing your third dirty martini. But the big surprise is that the script is witty and well-written. Though, for the record, there is a nun in drag.

Fugitive Songs

Fugitive Songs is less about lawbreakers than about the need to escape—to discover new horizons. The restless fugitives in Chris Miller (music) and Nathan Tyson’s (lyrics) song cycle feel trapped. They are ready to say farewell to loser boyfriends, dead end jobs, general malaise, or the realization that life in Washington Heights has become too comfortable.


Northanger Abbey is certainly the most neglected of Jane Austen’s novels. It was only published posthumously, and its characters have not, to my knowledge, been faced by zombies or forced to solve murder mysteries in their homes. But, if Catherine and her Northanger friends haven’t achieved immortality like Darcy or Emma, they have their own attractions. Something that was noticed by playwright Stina Pederson with her modern adaptation of the book, Catherine (The title Austen had chosen for the novel).


Annabella is an ambitious musical inspired by Italian folk tales of the Strega (Witch). Dark, mysterious and featuring malevolent marionettes, the story is part nightmare and part romance. And, even in a bare bones Fringe production, there is much to admire.

Sleeping Around

Arthur Schnitzler’s Reigen was published privately in 1900. Schnitzler knew that his roundelay of fornication could not be produced on any stage at that time. Even 20 years later, the first German-language productions were disasters. But the construction of the play, partners moving from coupling to coupling, was too clever to deny. And by the 1950’s, the French adaptation, La Ronde, had become a successful film, and translations of the play were produced under that title. By the 70’s and 80’s the more permissive times spawned a number of adaptations of the work which were more sexually frank than the original. There were even musical versions like Michael John LaChiusa’s Hello Again.

Merely Players

Backstage comedies, which are typically valentines to the theater, have a long history of popularity. Community theatre was famously lampooned as far back as George Kelly’s The Torchbearers. With Merely Players, the Color and Light Theatre Ensemble updates the Community theatre satire for the 21st Century with mixed results.

7th Annual One-Man Show World Championships

Interestingly, poking fun at the stereotypical over-sharing one-person show seems to be a recurring motif in Fringe shows. Even within one-person shows.