25TH ANNIVERSARY TOUR - 1993 - 1997
The cast of Jesus Christ Superstar during
it's 4+-year tour.
Photo courtesy of Debbie Spykerman (firstname.lastname@example.org)
The best thing I can
say about a tour that was supposed to last three months, but was so popular
that it lasted nearly FIVE YEARS, and produced gross incomes approaching
$100 MILLION DOLLARS, is that it showed an entirely new generation of people
what some of us had already known from the original Broadway production
and the film's initial release in 1972. Which is - that this is one
great show, with a super cast of individuals.
The show itself was such a feast for all. Every time we saw the show, there were different things to marvel at. From the opening, to the Temple scene (there was NEVER a night that Ted's singing in that scene did not draw cheers from the audience), the candlelight in "Could We Start Again Please", the joyful dancing in "Simon Zealotes", the drama in the "Trial Before Pilate" and the sarcastic humor in "King Herod's Song" -- everything was an amazing piece to see at each performance. I remember our House Managers at Playhouse Square Center here in Cleveland telling us that we HAD to be back in the theatre for the last eight minutes of the show, because we ABSOLUTELY had to see Ted floating off the crucifix. One House Manager said it would "knock our socks off". We can attest to that! Another amazing special effect was Judas Iscariot's hanging. Both in the film and live on stage, when Carl jumped off the platform and hung by his neck, it was eerily real. One humorous aside to this, I was backstage after one of JCS' performances, and was reading the callboard while I waited to see Carl and Ted. There in all it's glory was a cast note:
"IN TONIGHT'S PERFORMANCE: JESUS WILL FLY, JUDAS WILL HANG."
This really cracked me up. I laughed so hard I almost fell over. Apparently, at different times during this tour, performances were done where the hanging and resurrection did not happen for various reasons. We got lucky that night.
Superstar also brought audiences much closer to its stars: Ted Neeley and Carl Anderson, who began their now-legendary autograph lines after their performances in Cleveland, Ohio in 1994. It enabled us to get the now-famous "Tedhugs", and let us show Ted and Carl how much we all love and admire them.
Unfortunately for us, Andrew Lloyd-Webber forced the tour's closing in 1997, when he began putting together his revival of JCS, which played on Broadway for one season, and closed in September, 2000. In Ventura in June, 2000, the question was put to Ted as to what the chances were that he would be playing Jesus again, now that the current production would be closing. His reply was: "Very good." (With Carl's passing, the proposed revival Ted and Carl were planning to open at the Vatican in 2004-2005 had not yet come to pass (of course, none of us even knew about the proposed new tour until Carl died). However, as posted below, Ted has been on the road with the A.D. Tour (nee: JCS - The Farewell Tour") - which commenced in September, 2006 and runs - at least - through early 2010, so, indeed, stranger things can happen after all! :-)
The final "full-production" performances of Ted and Carl's 25th Anniversary Tour of Jesus Christ Superstar were in Philadelphia, PA, where it closed on January 19, 1997.
The audio recording of Gethsemane you are listening to was taken from an unofficial live recording of the final performance of the A.D. Tour on January 19, 1997 and given to me by fellow JCS fan and Ted Neeley list member John Conti.
Von (Shevonia) Thompson (email@example.com)
posted this review/analysis of the final performance of JCS today (7/2/04),
and it is an EXACT description of the full production of JCS on Ted and Carl's
tour. Thanks, Von:
is taken from the JCS.net. site. I do not know how accurate this article
is, but it will give those of us who haven't had the pleasure of seeing
the tour when it ran back in the 90's a chance to see what it might
have been like. It is a review by Chip Harmison. The last part is an
excerpt from Aunt Mary's " God's gift the world ".
play opens with the discordant sounds of the "Overture," smoke
filling the floor of the stage, in the center of which is a platform
whereon lie a man
and a woman (representing Adam & Eve). They rise slowly and grab at the "Tree
of Knowledge of Good and Evil" in the center of the platform to eat the
forbidden fruit. The "Overture" kicks into high gear as hooded figures
carry them away from the Garden of Eden.
this, men and women dressed in timeless peasant garb are groaning and
shown cowering (a symbol of mankind's oppression through the ages)
when Herod, then Caiaphas and Annas, then Pontius Pilate cross a catwalk,
looking down on the
people (literally & figuratively). After these unjust rulers leave, the people
get up & form a circle stage left (audience right), one of them walking off
to stage right (it is Judas, wearing a black leather jacket with a Harley Davidson
logo). As the music crescendos into the instrumental intro to "Superstar," Jesus
rises through the stage floor and up through the adoring followers, His head
and hands lifted heavenwards. He is brilliantly lit. He then looks at His followers
with total love. As the "Superstar" music ends abruptly and off-stage
voices sound the wordless finale to "John
19:41," Jesus and Judas approach each other and embrace warmly - it is obvious
there is a great deal of love and friendship between these two. When Judas goes
back to stage right, three young female non-singing dancers clad in red appear
to his right and use their hands to seemingly cast a spell on Judas (these ladies
reappear at crucial moments throughout the play; they are Temptresses, goading
Judas into his eventual betrayal of Jesus).
Jesus warmly embraces each of his followers and takes time to listen
to each one
and respond to them (unheard by the audience), Judas sings "Heaven on Their
Minds," surrounded by the Temptresses. When he comes to the conclusion of
his song, Jesus and His followers have moved center-stage onto the platform (used
for Adam & Eve) and are in frozen "tableau" as Judas wails, "Listen,
this song ends, Jesus, the apostles and the faithful women "un-freeze" and
the apostles begin an animated dance as they start singing "What's
Buzz?" Jesus is bemused (rather than annoyed) by their impatience and their
determination to take over Jerusalem (it's obvious they've never really paid
attention to Him or His Message). Mary Magdalene brings in a bowl of water and
wipes the brow of a grateful Jesus, who points out that she is doing the right
thing in offering comfort & kindness, but the apostles are undeterred and
repeat "What's the Buzz?"
enters, followed by the Temptresses. Jesus is happy to see him and
extends His hand in friendship, but Judas (goaded by the Temptresses)
launches into a
diatribe against Jesus & Mary in "Strange Thing Mystifying." Jesus
comforts Mary and listens to what Judas has to say, then responds that Judas
should not cast stones; finally, sick of His apostles' self-involvement, Jesus
lets them know He knows that none of them really care about Him, which they vigorously
the song is over, Jesus approaches front center-stage to respond to
a spotlight that shines from above the audience only onto Him (it is
God the Father). Jesus begins a conversation with Him, but is interrupted
by a well-intentioned Mary, who proceeds to anoint Jesus' head and
feet with ointment and sings the soothing "Everything's Alright," backed-up
by the faithful women. Judas self-righteously tears into both of them
again; Mary responds with a chorus of the song to Judas. Jesus gently
tries to get Judas to realize they'll never stop poverty with their
limited resources and to appreciate the good things he has. He places
His right hand on a surprised Judas' right shoulder and gently tells
him he'll be lost & sorry when Jesus is gone (He does this not
as a threat, but as a gentle warning to try to keep Judas from making
the mistake that will cause him to commit suicide). Judas puts his
right hand on Jesus' arm, but backs away from Jesus, who is unflinching
in His show of love for his troubled apostle as the women finish the
song. The stage darkens & the company leaves.
arrive the Temple Council, all bearing staffs, who conduct a meeting
about what to do about Jesus and His ever-growing popularity; the high
priests Caiaphas (whose basso profundo voice elicits cheers from the
audience every time) and Annas (whose wheedling screeching tone elicits
jeers from fellow priests every
time) concludes "This Jesus Must Die" and all of the priests drop their
staffs to meet at the head in agreement. The stage darkens and they leave.
re-lit stage shows banners dropping from the rafters proclaiming "JESUS
MESSIAH IS IN TOWN WITH ALL 12 DISCIPLES" and the like. Jesus is carried
in on the shoulders of 2 of His apostles to a crowd waving palm branches and
joyously singing "Hosanna." Caiaphas amd Annas appear on the catwalk
above and Caiaphas jeers Jesus and His followers; Jesus good-naturedly tells
him that if the crowd were silenced, the rocks and stones would start to sing.
Annas, carrying a rolled-up scroll, leers nastily at Jesus, who joins the crowd
trumpets blare. Jesus calls Judas aside and instructs him to find out
what the scroll Annas was carrying is about. Judas runs off to comply.
The crowd joyously
sing "Simon Zealotes" and Simon urges Jesus, who is enjoying this happy
time, to encourage his followers to overthrow Rome. Jesus is dismayed by this
and tries to caution Simon, who keeps singing of the "power" and "glory" that
will be theirs as Simon & the crowd finish the song. Judas has returned with
the scroll and shows it to Jesus; although it is not mentioned to the audience,
it is obviously the priests' arrest warrant for Him & Jesus is shaken (this
is based on historical fact - the ancient Jewish Talmud, section Sanhedrin 43a,
contains the arrest warrant for Jesus and the info on His crucifixion at Passover;
this was reportedly actually printed on the fake scroll). When the ardent followers
finish their song with a mighty "Amen," Jesus gently and bittersweetly
lets them know that their conception of power is not God's way and that Jerusalem,
with her people bent on war against the Romans, is doomed (which, of course,
came true in 70 AD). Jesus leaves, Simon and the followers unsure as to what's
going on. The stage darkens
and the company leaves.
re-lit stage reveals a Roman guard in Pontius Pilate's quarters at
the Fortress Antonia (across from the Jewish Temple); he is alerted
into a defensive mode by off-stage screaming. The screamer comes on
stage and turns out to be Roman procurator Pontius Pilate, who relates
his foretelling nightmare of his dealings with Jesus and His accusers
in "Pilate's Dream." The stage darkens and they leave. The
re-lit stage reveals "The Temple," replete with unsavory-looking
merchants hawking unauthorized Jesus mementos (such as buttons, hats
and t-shirts) to capitalize on the popular leader's presence in town.
giant illuminated Jesus head & hands inflate to serve as a backdrop for their
selling. Caiaphas and Annas come by. Caiaphas disgustedly rips in half a Jesus
t-shirt, while Annas gladly collects the royalties from the merchants (overall,
a wry commentary on capitalism and hypocrisy). Jesus and His apostles enter from
stage left in discussion with one another, when Jesus stops in His tracks, utterly
appalled by the misuse of His Persona for mercantile gains. He
screams "My Temple should be a house of prayer..." and grabs a knife
from a merchant rushing towards Him to stab Him (they're not about to let their
good thing be stopped, even if it's by the One they're capitalizing on)! Jesus
stabs the inflated head & hands, which "deflate," then, while
saying, "Not in My Temple," struggles with other violent merchants
seeking to stop Him. He overpowers the leader who is trying to attack Him with
staff and throws the staff to the ground. He screams, "Get out!" Judas
is panic-stricken and keeps trying to remind Jesus of the danger He's in by showing
Him the arrest warrant, but Jesus will not let His Father's House be made a mockery
of. When Jesus screams "Get out" to the greedy gang, Judas tears the
warrant in half and leaves. Jesus is alone and front-center-stage facing His
Father (the spotlight) and sadly sings, "My
time is almost through..."
is (again) interrupted by a group of infirmed people in hooded robes
who beg for His healing touch. He proceeds to heal them one by one
until a crowd mobs and
taunts Him, to which He replies, "Heal yourselves!" The crowd leaves,
Mary enters and reprises "Everything's Alright," to which Jesus finally
gets some sleep. The backdrop changes to a gorgeous midnight blue illuminated
by hundreds of stars as Mary contemplates "I Don't Know How to
Love Him" over His sleeping body. At song's end, the stage darkens and they
Judas Iscariot, one of the twelve apostles, went to the chief priests
and asked, 'How much will you pay me to get Jesus into your hands?'
And they gave him thirty silver coins. From that time on, Judas watched
for an opportunity to
betray Jesus to them." -- Matthew 26: 14-16
re-lit stage reveals a confused Judas sitting on the center platform.
A single event rarely causes a suicide. Rather, it is the victim's
inability to cope with a series of events that leads them to the brink
of self-destruction where some final event becomes the last straw.
By the time we see Judas, he's already
despondent. He's already hearing "voices." In short, he's already suicidal.
It is Judas' hour; the hour of shadows. The Temptresses swirl around him. He
tries to flee, but there is no escape. He hears the voices calling him by name.
Then he desperately responds to what he thinks is the voice of Jesus. "Judas." He
flees in the direction of the voice and then turns in
terror. "Judas," laughs Caiaphas. He's been hearing the voices of the
priests imitating Jesus to get his attention. Annas blocks the path of his escape
and Judas falls to his knees. He is desperate to find a way to save his dreams,
his mission and his life. Caiaphas and Annas (and the Temptresses) surround Judas,
who spills his guts about his ever-increasing doubts in "Damned for All
Time." The priests salaciously offer him "Blood
Money" to get him to lead their soldiers to Jesus when He's not surrounded
by crowds. He doesn't want the money and yet he suddenly finds it in his hands.
Despite his protests, Annas has dropped the silver into his open hands. Finding
it there destroys him. Maybe he feels that everything is out of his control.
Maybe he thinks there is no other way. Maybe he's wrong. It is a tragic moment.
Judas gives in, but realizes what he's done. Caiaphas and Annas are not his friends.
As soon as they have the information they want, they abandon him. He feels horribly
alone and lost. He curls into a fetal position on the floor and cries out in
agony. The sound seems to come from the depths of hell itself. "No-o-o!" He
screams out Jesus' name as the first act curtain descends. The curtain falls
and it's as if a prison door has slammed.
rises on the center platform, which is illuminated to (tastefully)
represent a round stained-glass window covered by a white cloth. Judas
sits dejected at stage right as the Faithful Women enter, followed
by the Apostles (one at a time from opposite ends of the stage, meeting
at the middle to descend the steps to this, the original Round Table
a la King Arthur's Knights) singing the chorus to "The Last Supper." Jesus
is the last to enter and tragically muses on His fate being handled
by His own friends as He distributes the bread and wine to the apostles
at either side of Him. He realizes they STILL don't get Him or His
purpose, so He flatly tells them one of them will deny Him, another
betray Him. The Apostles (except for a nervous Judas, who tries to
flee, but is pushed back by the Temptresses) vehemently protest this,
so Jesus names Peter as His denier and when starting to name His betrayer,
Judas explodes and Jesus urges him to go ahead and get it over with.
The apostles are confused; they sing their second chorus as Jesus wipes
their feet. Judas kneels down and clasps Jesus' head with his hands.
When he sees the bag containing the blood money tied to his belt, he
jumps to his feet and launches into his nastiest diatribe against his
Master yet, while Jesus holds off the angry apostles ready to throttle
the traitor. Judas finishes his venom and falls to his knees and into
Jesus' loving embrace with Judas wrapping his arms around Jesus' waist;
it is obvious they are both devastated by this. Judas leaves with Jesus
following him, His arms still outstretched to welcome back his tortured,
wayward friend, who goes off-stage, dashing off into the darkness.
The apostles sing their third chorus as they, too, leave the stage
and the women wrap up the tablecloth. Drowsy from the journey, the
food, the wine, the apostles drift off to sleep. Jesus turns to smile
at Mary, who is once again trying to comfort Him , but He sees the
(His Father God) and turns towards Him. Mary leaves & Jesus is alone, poignantly
singing, "Will no one stay awake with Me? Peter? John? James? Will none
of you wait with Me? Peter? John? James?" Alone. Afraid. Heartbroken. All
He wants is for someone to be there with Him.
now, finally, gets to have an extended discussion with His Father and
stage to sing the haunting "Gethsemane (I Only Want to Say)," in which
a tired and hurt Jesus pleads for His life (the star-lit background from "I
Don't Know How to Love Him" re-appears for this entire scene); during the
instrumental coda, Jesus turns His back and walks to the back of center-stage
shouting "No" at the prospect of dying when, at the coda's climax,
thunder sounds and strobe lights convey lightning to show that it is God's will
for Jesus' substitutionary death. Jesus acquiesces and finishes the song (to
what is usually a standing ovation that stops the show cold for several
and the Temple party arrive for "The Arrest" and the apostles
awaken to fight the soldiers. Jesus puts a stop to the violence and
tosses Peter's sword to the ground; the apostles flee and Jesus allows
Himself to be captured by the soldiers, who place two evenly-lengthened
metal poles in an X-cross
formation between His elbows & knees. In another bit of subtle social commentary,
trench coat and hat-clad reporters step in with microphones to get Jesus' reactions
to their cynical questions. They gleefully take Jesus (whom the soldiers uplift
on their poles so that Jesus is raised up parallel to the
ground) to Caiaphas & Annas, who gleefully condemn Him into Pilate's hands.
They leave the stage, whereupon Peter encounters a maid, a soldier and an old
man by a campfire; they recognize Peter from being with Jesus, which he vehemently
denies in "Peter's Denial," to the dismay of Mary, who wonders how
Jesus knew that would happen...
is brought in by Roman guards and shoved to His knees in the palace
of Pilate, who makes a grand entrance and sarcastically comments on
appearance in "Pilate and Christ." He sends him off to Herod (the
puppet "king" of Jesus' homeland, Galilee) while the mob (who have
turned on Jesus for not using His power against the Romans) deride Him as He
is taken to the court of drag queen/effeminate Elvis impersonator Herod. Things
are pretty intense by the time Jesus is forced to his knees at Herod's palace.
injects some levity with "King Herod's Song," but, in a strange way,
it makes him seem all the more menacing. Herod's palace is a den of iniquity
and depravation. Herod moons Jesus while a member of his heavily made-up court
takes a quick flash Polaroid of His face. Herod takes sadistic pleasure in tormenting
his prisoner. He takes his riding crop and puts a chokehold on Jesus' throat.
Herod sarcastically tries to goad him into performing miracles. Like a spoiled
child, Herod throws a tantrum when Jesus refuses to perform for him. He slips
off one of his gloves and wraps it seductively around Jesus' neck, the threat
apparent. But when even this fails to provoke a response, he pulls it tight like
a noose. At the very last minute, he releases it with a dirty laugh and kicks
Jesus over, sending him sprawling on the ground. Jesus, his arms bound behind
his back, struggles to his knees, but offers no defense to Herod's brutal attacks.
The courtiers roughly pull him to his feet and drag him from the palace as Herod
angrily sends Him back to Pilate.
the midst of this cruelty comes a song/scene of gentility and respite.
The star-lit background re-appears as Mary (in a hooded robe) shows
on the platform carrying a lit candle singing "Could We Start Again,
Please?" She is joined by Peter (also clad in a hooded robe), who lights
the candle he's carrying from hers, as does Simon Zealotes and all of Jesus'
(remaining) followers (again, all clad in hooded robes, lighting their candles
from each others' wicks). This scene is unbelievably moving in its simplicity.
However, we know we're going back to the tragedy when they put out their candles
is appalled at what Jesus is being put through, but worries mostly
he'll be viewed in "Judas' Death," much to the bewilderment of
Caiaphas & Annas. After they leave, Judas reflects on his mixed feelings
about Jesus, then is goaded by the Temptresses into blaming God for his actions.
This is very eerie. The guitar opening to "Heaven on Their Minds" (now
played discordantly) plays as Judas is pushed into suicide by the Temptresses.
We see Jesus and his guards in eerie strobe lights, as if being seen in a vision.
They have tormented his friend horribly. How much worse is it, then, to be the
man who delivers his friend into the hands of the abusers? Haunted by what he
has done and driven by the Temptresses, Judas slips a noose they give him around
his neck, then the music comes to a sudden stop as Judas hangs himself, dangling
in silhouette against a fierce red backdrop.
is once again roughly shoved into the palace of Pilate, who is surprised
at the determination of Caiaphas and Jesus' fickle (former) followers
(now a bloodthirsty mob) to have this innocent man crucified and tries
to get to the
bottom of it all in "Trial Before Pilate." When the music from "Pilate's
Dream" plays, Pilate realizes this is the man whose fate he will determine
and tries to sway the crowd against crucifying Jesus, but the crowd is relentless
in their cry for crucifixion. Unable to stop the crowd, he orders Jesus' flogging
to try to appease their bloodlust and to (hopefully) make them more sympathetic
to Jesus' plight with the line "To keep you vultures happy, I shall flog
Him!" "No!" cries Mary Magdalene. "He's
an innocent man!" But the guards grab her and carry her off. Pilate's soldiers
tie Jesus' arms to stakes, rip the clothing from His back and zealously begin
doling out the sentence. They are brutal. They are supposed to be alternating
lashes, but, on several occasions, they both strike him at the same time. After
thirty-nine counts, they cut him loose and Jesus crumples, collapsing to the
ground, broken and bleeding. Pilate then questions a dying Jesus about who He
is. Jesus acquits Pilate for his role in this, but Pilate takes it the wrong
way and gives in to the crowd, washing his hands of it. Pilate and the mob leave
while Jesus staggers to His feet and reaches out to
Mary & Peter, who are kept away by the Roman soldiers. They leave Jesus alone
on the center stage platform as the instrumental intro to "Superstar" crescendos,
Jesus becoming a silhouette against blindingly
flashing strobe lights.
curtain descends in front of Him and the actor playing Judas (dressed
in modern clothing, a sharp-looking white suit with a white sequined
vest, representing "Everyman") walks across the stage in
front of the curtain, eventually
joined by the "Soul Girls," wearing odd hats, who all query Jesus as
to His identity and mission. The title song climaxes as they leave the stage
the curtain rises.
sound of nails being hammered is heard, a dark edifice is rising from
center stage. When fully erect, it is lit to show Jesus nailed to the
in torment and speaking the famous "Seven Last Words from the Cross" in
the "Crucifixion" scene as eerie music plays. Two mocking Roman soldiers
and the grieving faithful women (including the Virgin Mary, for whom Jesus calls
out in His grief) surround the cross. When Jesus commits His spirit into the
hands of His father, His body comes forward and He breathes His last - a sound
heard as if all the wind in the world were being expelled. As the wind
dies down, "John 19:41" is mournfully started as Jesus bows His head & His
dead body sags downward from the cross and the women bow their heads, BUT the
tempo of the song changes mid-way as Jesus is resurrected from the dead! He looks
stunned and then His body moves out and away from the cross. As He slowly rises
upward, He looks bittersweetly at the faithful women (who raise
their heads & are stunned!) whom He's taking leave of and then He looks fearlessly
into Heaven, relieved at being over His trials & torments, happily anticipating
His return to God the Father, who has vindicated Him after all the misunderstanding
and betrayal He has endured. When He is fully ascended out of view, the women
and soldiers (who are also stunned) turn to face the audience, their gazes still
lifted Heavenwards as tiny beams of light emit from the center of the cross in
time to the closing notes of the music, which ends, not mournfully as it had
started, but triumphantly. The curtain descends while Ted gets out of the safety
harness he wore to fly off and puts on his last
curtain rises to reveal the center-stage cross fully illuminated. Each
cast member takes a bow; then it's time for the countdown to Jesus!
Huge spin and one finger from Carl, then another spin and two fingers
(keeping the audience on the edge of their seats), then the final spin
and three fingers sending them into a fever pitch. As the orchestra
breaks into the strains of the familiar theme, at last, Ted comes out
in a spotless white robe we've not seen before (to symbolize His glorification)
and hugs Judas in a show of forgiveness. The crowd is on its feet,
the applause threatening to drown out the orchestra completely. Hands
folded across His heart, Ted takes His bow and then extends one hand
to the orchestra and the other to the rest of the cast. The cast members
with “Jesus” and “Judas” in the middle, to take repeated bows to thunderous ovations.
A woman in the first row tries to reach across the orchestra pit to hand a huge
bouquet of roses up to the stage. Ted makes His way to the edge of the stage,
then raises his eyebrows and places His hand upon His
chest, as if to ask, "For me?" The woman smiles shyly and holds out
the bouquet. "Thank you," He mouths above the roar of the audience.
He bends down and reaches across the orchestra pit to retrieve the roses, then
waves the bouquet in the air and bows to more applause.
AT THE TOUR'S FINAL PERFORMANCE:
Ted Neeley as Jesus of Nazareth
DiMaria as Judas Iscariot (Carl Anderson played Judas in the '98 post-tour
Rea as Mary Magdalene
Spalding as Pontius Pilate (James O'Neil played Pilate in the
'98 post-tour shows in Ventura)
'98 post-tour shows in Ventura)
P. Carey as Caiaphas
Butler as Annas
DiBenedetto as Simon Zealotes
Millheim as Peter
White as King Herod
Paul as Soldier by the Fire
Insana as Maid by the Fire
LeTrelle Holt as Old Man by the Fire
Patrick Herwood, Seth Hampton, James Paul
Emily Frangipane, Patrick Herwood
Sisters: Erika Insana, Kirsten E. Gerding, Liza Shaller
Christene LeBeau, Danielle Gruzas, Jennifer Watkins
Stage Shots From the 25th Anniversary Tour and Other Tours
Photo Courtesy of Jan Stetler
|Photos courtesy of: http://darkstreet.hostrack.com/|
Courtesy of Kellylee
Photo courtesy of : http://www.chuckdimaria.com/jcs.jpg
Photo on e-Bay - found courtesy of Mianne Tripp (firstname.lastname@example.org) - Thanks, Mianne!
Thanks for the great find, Helena! (email@example.com)
I bought these 2 wonderful stage stills below at RTC while we were out there to see "Murder In The First" in June, 2000. My Salespeople? Tessa and Zach!
Here's one advertisement from Iowa, 1996 - again from Linda - which includes the picture below: