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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.



LA Drama Critics Address the 99-Seat Theatre Controversy

A Statement Concerning the Proposed Equity Changes to Los Angeles Theater

The Los Angeles Drama Critics Circle views the impending changes of policy concerning the small theaters of the greater Los Angeles area with alarm. We are concerned that the inevitable result of such changes will be a drastic reduction in the amount and quality of local theater. Indeed, we foresee what could be the virtual demise of Los Angeles as a leading incubator of plays and theater of innovation and diversity.

As critics, we are the front lines of the audience. Thus, we are keenly aware of the importance of small theaters and the actors who perform at them to the cultural ecosystem of Los Angeles as a major metropolitan center for the arts. Our institutional theaters and touring roadshows provide a valuable and popular service, but they alone do not and cannot provide the vast spectrum of forms of expression which a great city requires. Within that spectrum, live theater plays an essential role.

Under current proposals, nearly all of the winners of our Margaret Harford Award for sustained excellence over the past dozen years – our highest honor – would be threatened with closure or, at best, severely curtailed activities. A majority of the shows recognized in our annual nominations and awards would likely have never been produced. Worse, the future would promise a vastly constricted, less diverse, less venturesome, less exciting theater scene.


The cultural loss would be incalculable, affecting the hundreds of productions staged annually in Los Angeles. The economic loss of all the businesses interdependent on that production output is calculable, but even without the numbers being run, we believe the net impact on the city could be catastrophic. If not of the order of magnitude of the recent threatened port closure, it is analogous in import and effect.


The inner workings of an artists’ association, like the management of a corporation, are not the public’s business unless or until the impact of those actions has a material adverse effect on civic life, the general welfare, the region’s economic well-being, or a city’s core identity. At that point, an association’s practices become an appropriate matter for intense public concern. In the current situation, it is of critical importance that discussion and debate concerning these developments take place openly and extensively in the public sphere by all affected stakeholders. The goal is a healthier, more diverse society that provides greater opportunity for all, including the freedom of artists to develop their talents as they believe themselves to be best served.

The current situation is urgent and dire. When an historic piece of eminent architecture is destroyed, a natural resource despoiled, or a species goes extinct, the loss is irreplaceable. Once the infrastructure that undergirds the best of Los Angeles small theater is destroyed, it cannot, realistically, be resurrected. By the time the pain is finally felt and the general outcry heard, the possibility of effective action will have already been long foreclosed.

The Los Angeles Drama Critics Circle urges all stakeholders in the cultural, civic and economic health of the region to involve themselves in learning about the issues and consequences of the proposals currently on the table. The Mayor, the City Council and the Board of Supervisors need to consider the economic ramifications. Foundations and opinion leaders must consider the changes’ potential impact on their missions. Major media must contribute to the disciplined and thoughtful public discourse, even as social media air opinions on all sides. All of these stakeholders have a role to play in a civic crisis, and make no mistake, a crisis is what we are facing. Moreover, it is a crisis whose quiet and parochial buildup has served to sidestep public attention and debate. Very soon, it may be too late.