We Begin Tonight with Breaking News

Before starting this class, I had a blog of my own. I wrote in it for myself and for a few select friends and family members who I thought might find interest in hearing my inner monologue.  There wasn’t much thought put into content, it was just a place I could fill with whatever happened to spill out of my brain each day.  If I felt particularly creative, I’d add in a link or two to help explain what I was discussing and oftentimes I’d just ignore typos and publish the entry without looking over it for errors of any kind.

While I still pour my emotions into my personal blog, this course has not only changed how I blog but my overall digital writing habits.  When this course first began, I wrote in my class blog much like I did my personal blog.  I’d say that I was much more focused on trying to keep errors in check, but didn’t really pay attention to what the digital audience was seeking in the writing and format.

Throughout the semester, I have had wonderful opportunities to have my work reviewed by classmates as well as by my professor.  These reviews weren’t mere “Good jobs!” or “This sucks!” comments, but very detailed and well-thought suggestions concerning each post and what could be added or changed to ensure the entire digital writing environment was all around friendly in terms of writing and format. These type of comments are what I believe will prove most useful as I move forward in my digital world.  Items that can easily be overlooked are now glaring mistakes that I want to keep out of my writing both on and off of the internet.  There are things to think about when writing online, particularly links and multimedia, that can get out of hand if too present or hinder the writing when not available.

As class comes to an end, there really aren’t any questions that have yet to be answered.  This course and my classmates have done a spectacular job of taking a thread and looking at the topic from every possible angle. There is no real change that comes to mind that I’d say would improve the course.  Upon thinking about the topic, the only slight change I’d suggest would be to focus each week’s assignment on the discussion boards or on the writing and not both at once.  Trying to ensure that conversation is still flowing on the boards with the many threads and topics to address while still attempting to compose a well-written blog can be overwhelming from week to week.  I think choosing one or the other on a weekly basis would improve blog writing and help the board discussions to be more thoughtful as students would not be spreading themselves too thin.

I’m glad I had the opportunity to share this learning experience with other eager digital writers.  Now it’s time to expand what I have learned and apply it all to my upcoming travel blog, Kate Takes on Europe, which officially takes off on January 1, 2007. 

Here goes nothing!

The most common type of hypertext that has been a topic of discussion for this class is the hyperlink.  Hyperlinks can run rampant on web pages and in online newsletters.  It is vital that the links be present in online content and to help make the content more interactive and detailed, yet it is necessary to keep them under control so the links do not become a distraction and take away from the written material.

For my publication, Playbill Online, there are many opportunities for hypertext to run wild.  There are lists of performances, names of actors and actresses, and information about plays and musicals that are all important in their own right but do not necessarily require being linked on each and every page.

As noted in the class discussions on the disruption of links within a page or online magazine, it is distracting to the eye to see a sea of links on any given page.  It makes it difficult for the reader to decide what links are important and what is not necessary to explore further.  Then again, the lack of links when items must be explained further makes the reading equally as difficult.  Although a lack of links is probably welcomed more than an excess of the hypertext.

In an actual page on the Playbill Online web site focusing on a particular musical, for this example it is the opening night of “Company” which took place just a short while ago.  The opening night experience brought in a slew of A-list celebrities as well as the entire cast and creative team of the show itself.  If the person is highly recognizable it is not necessary to turn the individual’s name into a hyperlink.  On the other hand, for a reader it would be helpful to link an important member of the show’s cast that is new to the Broadway stage so that the reader can choose to learn more about the actor.  Linking everyone mentioned within the opening night article would simply be overwhelming and an eyesore. 

Excessive use of hypertext can not only distract from the text, it can completely overshadow important aspects when the wrong items are highlighted. 

A good digital writer will be wary of linking unnecessary items in a web page or online magazine.  It is still a relatively new type of writing and as other areas of digital writing become more advanced, such as the transition from plain text newsletters to a format designed in HTML, it too will be a revolving door of change as readers and writers alter their styles to conform to the ever-changing digital environment.

Online magazines are becoming more common for internet users to read on a weekly basis.  For Playbill Online, the online magazine is a way of updating site readers of the latest theater news each week.  The newest and most important items should be highlighted and when appropriate, hyperlinks should be added to help readers access the latest information without having to search for it on the Playbill Online web site.  This ease of accessibility makes the user more likely to access the information.

As my experience as a digital writer is constantly changing I have to make sure I place myself in both the position of the writer and audience so that I can focus on whether or not I am making wise hypertext choices in my writing.  The task of writing from an organizational point of view for this class has forced me out of my comfort zone as a digital writer and made me refocus my writing to be visually pleasing from both traditional and digital writing environments.  Hypertext can make writing go wrong with the a few strokes of the keyboard and yet it can make the writing so much better when used in moderation.

Playbill Online F.A.Q.

Does it cost to be a member of Playbill Online?

No way!  Becoming a member of Playbill Online is absolutely free.   Why not take a moment to register with us?

Do you have to be a member of Playbill Online to receive site discounts?

Yes!  But did we mention it is free to become a member?  It just takes a few moments to register.

How do I advertise with Playbill?

If you are interested in advertising with Playbill Magazine, send an e-mail to ad-mag@playbill.com.  If you would like to advertise with Playbill Magazine, please e-mail our online advertising department at ad-online@playbill.com.

How do I contact Playbill Online?

You have a few options, it just depends on what we can help you with!

Editorial/Content Issues	Andrew Gans	agans@playbill.com
Club Membership General Comments Technical Problems	Club Manager	clubmanager@playbill.com
Broadway Listings	Broadway Listings	broadway@playbill.com
Off-Broadway Listings	Off-Broadway Listings	offbroadway@playbill.com
Regional ( US) Listings	Regional Listings	listings@playbill.com
National Tour Listings Links (Theatre Central)	Greg Kalafatas	gkalafatas@playbill.com
Job Listings	Job Listings Editor	jobpost@playbill.com

Does Playbill Online contain information about international theater?

Playbill Online works hard to stay abreast of international theater performances.  However, it is nearly impossible to keep up with theater in each and every country around the world.  Playbill’s primary international focus is on theater in London.

Can I buy Playbill merchandise?

Of course!  Playbill’s online store can be accessed by a surfing over to http://www.playbillstore.com.  Items included t-shirts, CDs, sheet music, limited edition Opening Night Playbills, and much more.

How do I post an available theater job with Playbill Online?

Posting a job with Playbill Online is easy.  It only takes a few steps for the world to see your posting. http://www.playbill.com/jobs/post/ will bring you to a page with a form to fill out all necessary information about your posting.  Playbill Online currently charges $24.95 per job posting.

Does Playbill Online have a listing of theater seating charts?

Yes, Playbill Online keeps a listing of US and International seating charts.

Does Playbill Online maintain an archive of theater news and multimedia?

A limited multimedia archive has available on the site. A theater news archive dating back decades is also accessible.  Both archives are updated on a daily basis.

How can I make suggestions to improve Playbill Online’s web site?

E-mail the webmaster  We’ll get back to you as soon as we can – thank you for your suggestions!

FOR IMMEDIATE RELEASE

COMPANY IS COMING TO BROADWAY

Playbill Presents Broadway’s “Company” Opening Night Celebration November 29, 2006.

Ethel Barrymore Theatre 243 W. 34 Street (Between Broadway and 8th Avenue)
(202) 302-700/800-677-1164
http://www.companyonbroadway.com

(New York, New York)  Playbill is proud to sponsor the opening night celebration for John Doyle’s revival of Stephen Sondheim’s musical “Company” at 8 p.m. November 29, 2006 at the Ethel Barrymore Theatre.

Doyle makes his triumphant return to Broadway after a successful revival of “Sweeney Todd” which earned him a 2006 Tony Award for best musical direction.  His unique vision cuts out the need for an orchestra and puts the actors on stage pulling double duty with instruments in hand.  The revival of “Company” is unlike any other show on Broadway.

 ”Company” follows the life and relationships of Bobby, a 35-year-old single male, looking for love so that he can stop feeling the pressure from all of the other thirty somethings in his life that are already hitched.  Bobby looks at his past loves and must decide if he is at the point in his life where it’s time for him to marry or remain the odd man out.

Playbill Online will be hosting an online sweepstakes with a grand prize of airfare for two to New York City, hotel accommodations at Le Parker Meridian for one night, orchestra seats to the opening night performance of “Company”, and access to the V.I.P. gala.  The contest opens November 1, 2006 and will close at midnight November 23, 2006.  The grand prize winner will be notified by phone on the morning of November 24, 2006.  Valid for residents of the continental United States only.  Entrants must be 16 years of age or older at the time of contest end to be eligible to win.  Visit http://www.playbill.com for more information and a full list of sweepstakes rules.

Opening night festivities begin at the Barrymore Theatre promptly at 7 p.m. with red carpet entrances for cast members and V.I.P. guests.  Media interested in attending this portion of the event must contact the media coordinator to reserve a filming location.  Set up for red carpet access must be completed by 6:30 p.m.

The curtain will go up on the opening night performance at 8 p.m. and media will be directed to the balcony and permitted to film only the first two musical numbers of Act I.  For Act II, media will be permitted to film the final musical number and curtain call.  Precise filming details will be handed out upon arrival to the theatre. 

It should be noted that the cast of “Company” will be exiting through the stage door at the front of the theatre.  They will not be signing autographs outside of the theatre for this performance as the cast will be immediately ushered into vehicles and taken to the opening night gala at the Metropolitan Museum of Art located at 1000 Fifth Avenue at 82nd Street.  Entrance to the gala is granted by invitation only.

Cast members available to the press for interviews at the gala will be Raul Esparza (Bobby), Barbara Walsh (Joanne) and Kelly Jeanne Grant (Kathy).  Interviews will be done in order of media arrival and will not exceed 10 minutes in length.

Playbill will be printing special edition numbered opening night playbills for all attendees of the performance.  Gold “Company” pins commemorating the evening will be be available for purchase in the lobby of the theatre.  Proceeds from the pin sales will go to the Broadway Cares Equity Fights Aids fund. 

Directions to each venue have been attached to this e-mail release. 

Media Contact:
Kate P. Bowra
Playbill Online Public Relations
companypress@playbill.com
http://www.companyonbroadway.com
Phone: (212) 555-5555 x212
Fax: (212) 555-1234

October 11

4 a.m. - Get up!  I woke up to the sound of my alarm and just seconds later the ringing of my cell phone forced me out of bed.  It was my friend Barbara calling to make sure I wouldn’t oversleep and miss my 6:45 a.m. flight. 

8:40 a.m. - Mom and I arrived at 320 W. 66th St. to ABC Studios where The View and All My Children are taped.  I ran inside to snag Elise who is the audience coordinator for The View.  She appoligized to me that my tickets had been misplaced and I didn’t have a seat for the live taping,  but she made up for the error and gave me two tickets to the show’s afternoon taping.  I went back outside to meet up with my mom and explain the ticket mishap, we hailed another taxi and dropped off our luggage before returing to the streets in search of the closest Starbucks.

11 a.m. - After walking 20 blocks downtown and discussing what type of soup we would have from The Soup Nazi (yes, just like the Seinfeld episode), we arrived at his restaurant only to find he had closed just days before so that he could begin franchising his business.  An incredible disappointment to say the least.  Lunch had to wait until later in the day so mom and I could get back to The View on time.

12:45 p.m. - Standing in the hallway I waited to be allowed into the studio for The View.  I saw a few stars from All My Children walk by, including Cameron Mathison, who mom and I had met in a Starbucks a few years earlier.  I took one of the set elevators upstairs to the studio which had recently been overhauled for the show’s 10th anniversary.  Elise waved to me as I walked onto the set, I stopped and asked her if it would be possible to do the mid break with one of the show’s co hosts.  She couldn’t make me any promises, but she said she’d see what she could do.  That worked for me.

1:15 p.m. – The warm-up comedian had just a few minutes to train the audience in clapping techniques before it was time to start the taping.  The show was just nearing the halfway mark when Elise called for me to get out of my seat.  I walked across the studio and stood with Elizabeth Hasselbeck.  We introduced ourselves and then it was time to tape.  Rob, the stage manager, counted me down as I spoke and read from the teleprompter.  When I finished, Elizabeth smiled and gave me a hug while saying, “Wow!  Great job – that was so professional!”  We hugged again and I went back to my seat to watch the rest of the taping.

2:45 p.m. – The taping wrapped and mom and I left the studio after saying our goodbyes.  Just moments after we stepped back on to the street I overheard a woman walking behind us on her cell phone talking in a panic saying, “A plane crashed into a building!”  I stopped dead in my tracks.  I hadn’t noticed the city was silent except for the sirens of emergency vehicles.

2:55 p.m. – Mom and I continued to walk downtown after hearing of the plane crash.  We had just entered Columbus Circle when we ran into Gloria Estefan and her husband who had also just heard the horrific news.  After saying hello and discussing the news we parted ways. 

3:15 p.m. - A few blocks later Mom and I arrived the Stage Deli.  I have been going to the Stage Deli with my family for as long as I can remember and ordering the exact same dish of potato pancakes each visit.  I saw down long enough to order and ran from my seat to the television to see what news CNN had of the crash.  The details weren’t quite clear yet, but there wasn’t any indication of terrorism and that was enough to ease my mind while I waited for additional information to clear the wires.

5:30 p.m. - I was left with the decision as to what Broadway show mom and I would see for the evening.  We went to TKTS and picked out orchestra seats for Martin Short’s musical comedy ‘Martin Short: Fame Becomes Me.’

6:30 p.m. – Drinks at Sardi’s before the show.  Mom and I sat in the bar where years before we sat next to Blythe Danner.  Unlike before, there were no celebrity sightings during this visit. 

8 p.m. – Martin Short’s ‘Fame Becomes Me’.  I hadn’t been in my seat long when I noticed a picture of my friend Kelly in a Playbill advertisement for her upcoming Broadway debut in Sondheim’s ‘Company’.  What a rush.

October 12

6 a.m. – We left the hotel to hit Starbucks before hailing a taxi to Broadway and 44th to the Good Morning America studio.

6:45 a.m. to 9 a.m. – Mom and I had V.I.P. passes into GMA thanks to my friend Jennifer who works for the program.  We were in the front of the audience crowd and ended up in front of the camera a number of times.  Diane Sawyer, Robin Roberts, and Chris Cuomo joined the audience during the last half hour of the program to host the show from for ground level portion of the studio.  I had my picture taken with Robin and Chris when the show wrapped.  Diane didn’t have much time to talk, so I introduced myself and I handed her a bag designed by my friend Holly Aiken without taking time for a picture.

10 a.m. - I hailed a taxi from Times Square so that mom and I wouln’t be late for my class at Trapeze School.  I changed into my gym clothes and stretched while I waited for class to begin. 

10:45 a.m. – Class began and my trainer John, the owner of the school who trained Sarah Jessica Parker and Kelly Ripa, showed me how to hold myself on a bar that was a few feet above the ground so that I would know how the bar would be 23 feet up in the air when I was flying in the air on the real trapeze.  I made a few solo attempts and as the class was coming to an end, John said that I had done well enough to be caught.  It’s a bit hard to explain the whole process, so I’ll let the video below speak for itself.  The first video is my last solo attempt on the trapeze and the second is a video of me being caught by John.  This class was a true rush, I plan to go back each time I visit NYC!

1:30 P.M. – Lunch was in Little Italy at a small restaurant on Mulberry St. called Buona Notte.  Following lunch mom and I wandered the streets popping into stores that had interesting window displays until it was time for dinner.

7 p.m. - I had a dinner date with my friend Kelly at a little place called West Side Sushi.  Mom hadn’t seen Kelly in years so it was fun for the three of us to catch up over dinner.  When our plates were cleaned we walked a few blocks uptown to Tasti D-Lite for dessert. 

10 p.m. – Kelly wanted us to see the theatre where she would be perfoming in ‘Company‘ so we took our ice cream to go and headed for the Barrymore Theatre. The scaffolding had never been down on Kelly’s previous visits, so it was a bit emotional for all of us to see the theater lit up for the very first time.  A couple walked past us while Kelly was pointing to her photo on the wall and my mom stopped them by saying, “That’s her!  That’s the Broadway star!”  Her comments thoroughly embarassed Kelly, but I think she enjoyed it a little.

10:30 p.m. – It was time to say goodbye.  Kelly, the “Broadway Star” hailed a taxi and mom and I headed back uptown to our hotel.  What an amazing day.

October 13

7:30 a.m. – Starbucks again?  Yes.  I can’t remember the last time I went without it.

8 a.m. – Mom and I arrived at WABC for the taping of Regis & Kelly.  I used my company I.D. to walked behind the scenes to avoid the crowded public restroom for general audience members.  I was greeted by a bubbly Kelly Ripa who was wandering around with her hair still in curlers as she prepared for the show. 

9 a.m. – The show’s taping began.  Lots of clapping and it felt more like 10 minutes than an hour’s worth of programming.  The only disappointment was that Regis was absent.

10 a.m. – The taping ended and I walked out on the set to talk with Kelly.  I had also brought her a bag from my friend Holly, so I wanted to make sure I delivered it to her personally.  Kelly was shocked I had something for her and even more amazed I hadn’t given it to her earlier, “Why didn’t you tell me you had a gift earlier?” she shouted to me from across the set.  Kelly was a total riot, she loved her gift and stopped to take a picture with the bag so I could give it to Holly when I returned to Raleigh. 

12:30 p.m. - Time to return to Raleigh.  Mom and I made our way back to the hotel to collect our luggage and wait for the town car to arrive to take us to the airport.  I was exhausted and in a daze for the entire trip home.  I can’t wait to do it all over again.

Comedian Martin Short is back on the Great White Way with his latest venture, ‘Martin Short: Fame Becomes Me.’ The 95-minute musical comedy at the Bernard B. Jacobs Theatre takes the audience from Short’s birth to his current situation in life, hosting a musical comedy.  Short begins the performance by addressing the audience and explaining that some, not all, of the events they are about to be exposed to are real.  Evidently he felt it necessary to spice up his past and he does so with flare. 

Joining Short in his so-called one man show is a small ensemble, dubbed as the ‘Comedy All Stars.’  The four All Stars are Brooks Ashmanskas, Mary Birdsong, Capathia Jenkins, and Donna Vivino.  Understudies, Jill Abramovits, Charlie Alterman, Aisha deHaas, and Edward Staudenmayer are cross-trained on the All Star roles to fill in when needed.

 

The Comedy All Stars portray small roles in each of Short’s musical numbers.  They play Short’s relatives, friends and mock celebrities like Liza Minelli and Renee Zelwegger.

 

‘Fame Becomes Me’s’ musical direction, lyricist, and composer is none other than Marc Shaiman of ‘Hairspray’ fame.  Shaiman plays on an upright piano in the corner of the stage throughout the performance for Short.  He also takes on the role as Short’s right-hand-man, responding to Short’s jokes and adding his voice to many of the musical numbers.

 

The song, ‘Step Brother de Jesus’, gives some insight into the quirkiness of the dialogue and music of the show.  Short portrays himself as, you guessed it, the step brother of Jesus in a retro hippie number; afros and bellbottoms are included at no extra charge.  This is a portion of the show that’s clearly not part of Short’s life, just a thought he felt like sharing.  Other songs, such as ‘Don’t Wanna Be Me’ and ‘Heaven, Heaven’ more closely follow Short’s true life. ‘Heaven, Heaven’ is what Short believes it will be like in Heaven after he’s left this earth and can spend eternity partying high above the clouds.  It may not be the truth, but Short and Shaiman have certainly worked diligently to ensure each song is imaginative and humorous.

 

The show trucks right along without stopping for the traditional 15-minute intermission. It continues full-force without dragging at any point throughout the performance as surprises lurk between every scene.

 

Halfway through the show, Short returns to the stage dressed as Jiminy Glick.  Glick is a well-known character of Short’s that has his own television program, ‘Primetime Glick’, on which he interviews celebrities. 

 

During the scene where Short is dressed as Glick, he looks to the theater’s audience for an interview subject.  While any audience member is eligible to be chosen, the production staff is usually well-aware as to whether or not a celebrity is sitting in one of the seats.  Celebrity guests that Glick has pulled out of the audience have included, but are not limited to:  Tina Fey, Jerry Seinfeld, Steve Martin, Sarah Jessica Parker, and Tom Hanks.

While Glick is a well-known character of Short’s, it by no means can beat the character of Ed Grimley who also makes an appearance during the musical comedy.  The audience screamed as Grimley took the stage, triangle in hand, and pants hoisted well above his ribcage.  The loveable Saturday Night Live nerd that Short created in the 1980s is easily one of his most recognizable and popular characters to date.

Following each night’s performance, Short and his fellow cast members continue to share themselves with the audience by signing autographs and taking photos outside of the theatre’s stage door.

‘Fame Becomes Me’ is a suitable musical title for Short who shines in the spotlight for the show.  It’s his show and he certainly owns it.  He sings, he dances, and flies high up in the air above the audience’s heads.  There’s really nothing that Short has left out of his latest musical endeavor. 

Short and his small ensemble win the audience over the moment the curtain rises.  This musical comedy does not disappoint.

‘Martin Short: Fame Becomes Me’ is a limited-run musical and runs through December 31, 2006.  Performances are held Tuesday through Sunday with a matinee show on both Wednesday and Sunday afternoons.

Ticket prices range from $56.25 to $111.25 and can be purchased online at Ticketmaster.com or through the Bernard B. Jacobs box office by calling Telecharge at (212) 239-6200.  Not sure if there’s time to see a show?  A limited number of tickets are available each day through TKTS at 50% off the published price.

The online content I will create for my organization, Playbill Online, will consist of theatrical reviews and the addition of message board content to create a stronger online community for the site.

 

Reviews of theatrical performances are what many potential audience members base their decision on when choosing what to see when they are interested in seeing a Broadway show.  It crucial that reviews be posted in a timely manner after a show debuts and if possible, a review should be available to the general public before the show has an official opening night.  This would be considered a preview piece, which would explore the show during the preview period and what improvements need to be made, if necessary, before the show officially debuts.

In regards to the creation of an online community where audience members and potential audience members can interact, this will also allow discussion of the aforementioned reviews to be debated if the audience members disagree with the posted review.  It will also give audience members the ability to partake in discussions with show cast members and production staff.  The message board community will benefit the theatre community and the audiences by opening the lines of communication to make sure everyone’s needs are met.

As one of my classmates, Gerry, has already pointed out concerning semiotic analysis is the impact of web site branding.  I too feel that Google.com has done an outstanding job at using the site’s logo images to create a brand that we as web surfers identify with Google and only Google.  Although the logo changes on occasion, such as holidays and other special days, the logo remains true to the site and even includes sub headings when the user visits a different portion of the site other than the main search page.  Google Images, Google Maps, and the like all contain the Google logo and the specified name of the area of the site under the main logo.  It’s easily identifiable and as such it allows users, no matter what language they speak, to know the site they are visiting is Google whether they’re on Google Video or Google News.  As a society, we have invested a meaning in the sign that is the Google logo and thus we identify with the sign and the Google empire. 

When discussing off-line content in terms of image branding, I feel as if Starbucks has accomplished the same sign meaning as Google.  My friend’s nearly 3-year-old daughter, Zoe, who I have mentioned in a previous post can spot a Starbucks from a mile away.  She’s better at yelling out “Starbucks!” than even identifying with McDonalds, which I know as a child I found quite amusing to point at in the car with my parents.  If a small child can identify with a sign and give it meaning, that sign has far surpassed any goals those in the adult world have had for a logo or other similar type of sign. 

There’s no telling how big of an empire companies like Google or Starbucks can achieve if they are already so incredibly identifiable and popular among societes around the world.

Playbill Online is the internet version of Playbill Magazine, a monthly magazine that is distributed to audiences of professional theaters and to subscription holders around the world.

Audiences for Playbill in print and online range from everyday citizens who are interested in attending a theatrical event to the people who are actually part of the entertainment business and want to discuss with other professionals or learn about upcoming events. 

The Broadway community is constantly shifting and with those alterations the audience also changes.  In recent years, production teams have taken a liking to bringing in Hollywood stars to perform the lead roles in plays and musicals.  When these headliners take the stage, their fans also come in tow.  These celebrity fans guarantee that there are a number of non-theatergoing people coming in and out on a monthly basis that create a very diverse audience for Playbill.

Playbill, as it proudly states on its website and logo, has been serving the theater community since 1884.  The publication serves a variety of purposes for the magazine’s readers.  There is the traditional magazine portion which typically has interviews, reviews, and events that are going on in the theater community.  The second half is what theater audiences experience when they attend a professional theatre performance, the playbill portion. 

The playbill has information about the show, the backers, and cast biographies.  For instance, if you’re going to see Disney’s “Beauty and the Beast” on Broadway, you would receive a playbill as you are brought to your seat.  The playbill has advertisements and information about the show that can be read through while waiting for the curtain to go up and even during intermission.  Wait a minute, the actor playing the role Gaston looks familiar?  Flip to the cast biographies and things start to make sense.  That’s because it’s Donny Osmond.

The online version of Playbill includes all of the information found within the pages of the printed publication and a slew of additional information.

There is only so much that can lay within the pages of the magazine itself, so the web version of Playbill acts as an extension.  Rather than only offering Broadway news and production statistics, the site contains information on touring productions, West End London theater news, regional performances, as well as all of the same show and cast biographical information that appears in the print edition of the monthly magazine.

Need theater tickets?  Playbill Online can assist with that too.  Whether it’s a touring production off-Broadway, on Broadway, or even in London tickets can be purchased at discounts up to 50% off box office prices.

Playbill Magazine and Playbill Online are accessible to people across the United States and in Europe.  The content has to change on a daily basis and the content has to be altered as the audiences grow and fluctuate depending on the productions that are currently open or touring.  Playbill shares the theater world’s news.

The style guide that I will adhere to when creating online content for this assignment is Associated Press format.

1.  Find three examples online of poor headlines used as links and provide their solutions (fix the headlines). Post to your blog.

Headline:  Implants May Ease Sleep Apnea

Problem:  This headline can easily be misunderstood for breast implants.  This can cause confusion and a bit of off-topic curiosity.

Solution:  Palatal Implants May Ease Sleep Apnea

Headline:  Hotel Stay?  Say Gesundheit.

Problem:  This headline doesn’t necessarily make a connection between sneezing and hotel stays.  It took me a minute to digest.

Solution:  Cold Germs Check in to Hotels

Headline:  Make a Wish on Your Birthday…carrot?

Problem:  This headline just confused me.  I don’t know anyone who wishes for carrots on their birthday.

Solution:  Schools Blow the Candle on Birthday Treats

2.      Find at least one article on the Web that you think could be improved with the use of lists. Submit the “before” version and your edited “after” version of the article, or part of the article. Post them to your blog.

“FDA officials said even if everyone stopped eating spinach when warnings were first issued around Sept. 15, they would expect to receive reports about illnesses into October because it often takes two to three weeks to hear of possible cases, perform the needed tests and get results back.

Escherichia coli is a common and usually harmless bacteria found in the guts of animals. A new, toxic strain called E.coli O157:H7 was identified in 1982. It now causes an 73,000 cases of infection and 61 deaths in the United States each year.”  – Reuters article dated September 28, 2006. ”More E.coli spinach found in US outbreak”

These last two paragraphs of the Reuters article discuss E. coli and the illnesses being reported as a result of the recent outbreak.  However, while the article mentions the cases and testing for E. coli, it does not mention any symptoms or things that the general public should be aware of concerning the illness.  I feel that this article would benefit from a list following the last paragraph waring the public of symptoms and how to contact the FDA if they feel a need to be tested for E. coli.

FDA officials said even if everyone stopped eating spinach when warnings were first issued around Sept. 15, they would expect to receive reports about illnesses into October because it often takes two to three weeks to hear of possible cases, perform the needed tests and get results back.

Escherichia coli is a common and usually harmless bacteria found in the guts of animals. A new, toxic strain called E.coli O157:H7 was identified in 1982. It now causes an 73,000 cases of infection and 61 deaths in the United States each year.

Individuals who have consumed fresh spinach should contact their health provider immediately if they experience the following symptoms:

•  abdominal cramps
• bloody diarrhea
• slight fever
• in severe cases infection can cause a complication called hemolytic uremic syndrome (HUS), which can cause kidney failure

To report possible cases of E. coli as a result of coming into contact with tainted spinach, the CDC can be reached at 1-888-CDC-INFO.

3.      Re-write the headline for your Weeks 1-3 writing sample with this week’s module in mind.

London:  Off the Beaten Path

4.  Story lede headlines 

• Homeland Security Antiterrorism Database is not Child’s Play.
• Antiterrorism Grants Help Secure Local Businesses
• Homeland Security Grants: Unlikely Targets Make Antiterrorism List