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Baby Bounce: 12:15-1:15 p.m. Sept. 18. Play, sing and rhyme one-on-one with your baby from birth to 18 months, followed by Playtime. The group will be on the floor, so dress comfortably. No older siblings. Registration is required and limited. LEGO @ the Library: 7 p.m. Oct. 13. Kids ages 5-11 can build with Lego blocks while listening to a recorded book. Registration is required, and space is limited. Movie Monday: 7-8:30 p.m. Sept. 29. Kids ages 5-11 are invited to watch a G- or PG-rated film.

It is in every aspect a Great American Musical — so it’s got to be larger than life, right?, Maybe not, San Jose’s plucky City Lights Theater Company is making a pretty compelling case that the classic 1957 musical adaptation of Shakespeare’s fitflop f-sporty ballet flats “Romeo and Juliet” can be played in an intimate setting while retaining much of its impact, In some respects, the intimacy even heightens the effect, When teenage gang members declare they’re ready for a game-changing rumble (“Jet Song”), they end up practically face to face with the audience, their beads of anxious sweat as visible as the row of ramshackle tenement buildings that defines their endangered turf..

“I wanted to explore the language of contact improvisation, a whole new vocabulary that I found working with Jess that I never found again with anyone else,” she continues. “I had created my own work and had cultivated an audience for it, but now I want to introduce this other way of working to them, to share him, as he has been such an important part of my discovering dance. To show them the beauty I find in his work.”. One important aspect of a performance or dance that uses both the disabled and the able-bodied on stage is accessibility — for performers and audience alike. At some performances, Audio Description Service and pre-show “Touch Tours” will be available for the visually impaired, as well as ALS interpretation for the deaf.

He’s ready for the next step, “I’m loving the Rascal Flatts tour that I’m on now, I’m super thankful for that, It wasn’t that long ago I was paying for Rascal Flatts shows and watching them at the same amphitheaters that we kicked the tour off, “So it’s a crazy, full-circle moment for me, But I want to always be moving ahead, hopefully end up on some more big tours and fitflop f-sporty ballet flats maybe in the next couple of years, be headlining a tour of my own, You never know, But that’s the goal — get some singles out on the radio and keep this thing going!”..

Certainly, for some performance attendees, the tweet is the thing. Charles Orlando is a power user with 2,500 Twitter followers and more than 570,000 Facebook “likes.” He tweets about atmosphere, crowd reactions and snippets from post-show parties at Broadway San Jose. It’s a “review of the experience written by the Everyman,” says Orlando, who splits his time between Livermore and Los Angeles. Live-tweeting appeals to Anthony Williams, an SF Playhouse regular, because the technology is a platform for stream of consciousness commentary: “My favorite part is that the thoughts are both quick and instinctual, meaning that whoever follows along gets my direct stream of thought.”.