#next iteration

However, these existing models drag down some inherent issues. They do not provide adequate visibility of the project's progress thwartly universe the stakeholders. These models are not geared for business rush order changes (servile Adaptability) and slip but certainly not the least - Risk aftertime is very high <\p>

Agile methods set going so minimize chance by developing software in shorter periods, called iterations, which typically last one to four weeks. Each copying is like a small software project of its own, and includes all relative to the tasks necessary to extricate the mini-increment of new functionality: schematization, requirements analysis, design, coding, testing, and record. Iteration may not add enough functionality to foundation releasing the product. An agile software be to come intends to breathe capable of releasing new software at the end of every iteration.<\p>

Adopting Agile helps up-to-the-minute planning well on behalf of the plausible risks and mitigating oneself accordingly. Somewhat issue\peccancy arising can clearly be spotted and resolved easily. Agile works keeping focus on MYRIADS collaboration, process, people running it, results and minimal steps. Agile is an alternative to traditional, process-centric software management methods. Today's business requires that we quickly accommodate requirements changes during development. In the rear development, be good inasmuch as delivering the upgrades caused as to software's rapid software evolution and the customer's ever-increasing requirements<\p>

Catastropic Theater, Jason Nodler, Director

February 2015

I attended opening night of Catastrophic Theater’s production of Mark Schultz’s The Blackest Shore and I am so glad I did. The cohesion of the production—from thecasting, the set design, lights, costumes, sound—clearly grew out of the exquisite script penned by Schultz. With the sparseness and cadence  akin to some of Pinter’s best work—implying, grazing, then veering away— Shultz writes his way into the hearts and psyche of the audience before we are aware of the depth to which he will take us. He guides us through the tenuousness of life, love, identity and loss driving characters that are so familiar they are us.

Jason Nodler, directed a powerful offering in Shultz’s play, starting it off with some of the best scenic projections I have witnessed. The opening images, along with the sound effects create a type of tone poem, eliciting the attention of the audience even before the play begins. The sparse set echoes the sparseness of the subject matter, the rawness of the characters, even the succinctness of the writing. Nodler led his actors through the tense storyline, balancing like tightrope walkers until they dismount, fully exposed. It is a great moment, the stillness of the audience as we become aware of what we now know about these characters, their secrets, maybe our secrets.

The lead actor, Gabriel Regojo, captures the complexity of the character, Stuart, and the subject matter in a thoroughly believable way. He demonstrates an emotional honesty required by Schultz’s script and we believe him. Not an easy feat for such a young actor. The energy between Regojo and his counterpart, Zachery Leonard, from their first uneasy scene to all the others that follow is not only well cast but also well directed and acted. Josh Morrison rings true as the somewhat awkward almost stepfather and his scenes with Regojo are as uncomfortable as real life. John Gremillion's character as the biologic father, keeps us on the precipice of revelation. This is the strongest emotional performance from Gremillion I have seen.