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It must have been the following day that I met with Sandy Yaguda at the Continental Hyatt Hotel on Sunset Boulevard, affectionately known as the Continental Riot House, where all the rock stars were known for heavy-duty partying and destruction of hotel rooms. Sandy and I met on the rooftop. Within moments, I learned that he had already called the producers, Leber & Krebs, and had indicated that he had discovered the Paul McCartney character. He deemed me to be a reasonable look-alike, but a major sound-alike as an alternate McCartney for the Broadway show.

At that time, I was living in the home of a Dr. Gene Carson. The next thing I knew, I had purchased a one-way ticket to New York with Bobby and Randy, whom I had met at SIR during the auditions. We ended up in New York on the redeye flight. Being half asleep, we approached the cab stand. I instructed the driver to take us to the San Carlos Hotel. Well, to make a long story short, we had about a two-hour cab ride. The route this driver took had quadrupled the price of what that cab ride should have cost. Upon turning in our travel receipts to the management company, the lady looked at the receipt and asked, “Did you take a scenic tour of all New York?” My response was, “I really don’t know; I was sound asleep in the back seat.” We checked in the San Carlos Hotel, which was basically a weekly or daily rental facility. It was shared by Randy Clark, Bobby Taylor and some George Harrison guy they found in San Francisco, who lasted only a couple weeks because of an attitude problem, and myself. The stay was neither comfortable nor glamorous. The Harrison character was replaced with a guy maned P.M. Howard. I don’t believe he stayed at the same place we did.

There was a New York cast that had been rehearsing for eight to nine months prior to our arrival in New York. Our first meeting was at New York’s SIR. There we met the New York cast. The Lennon character was Joe Pecorino. The McCartney character was Mitch Weissman. The Harrison character was named Leslie Fradkin. The Ringo character was Justin McNeill. I also met some great off-stage musicians as rehearsals progressed. One was Andrew Dorfman, who played keyboards and wrote arrangements. My favorite was Larry Davidson, who played trumpet and piccolo. Larry was incredible. He was one of the few trumpet players who could actually play the piccolo trumpet part in Penny Lane. To this day, I would like to meet him again. A great lady, Sally Rosoff, was the cello player. Still another wonderful musician, Mort Silver Woodlands, played sax. Peter VanWater played violin. I really enjoyed Peter. He was so supportive when I had to perform Helter Skelter live. You see, if the tape broke down, the stage manager would look at me and point his finger from off stage to perform it live. I sang it in the original key of E, with no disrespect to Mitch who performed it in the key of D. Peter would run to the side of the stage to hear my live performance.

We began rehearsals with the Harrison character from New York, and everything was moving along at a reasonably good pace, considering that--as previously mentioned--the originally-cast Harrison character with the attitude problem was replaced. Once Howard settled in as the new Harrison, things progressed briskly. After rehearsing for a period of time, the date was set to open at the Boston Colonial Theater. The two groups, the New York cast and the Los Angeles cast were known as Bunk 1 and Bunk 2 respectively. Bunk 1 had already gone forward to have its outfits--pre-Beatles suits and Sargent Pepper suits--made and readied for performance. The suits were made by New York’s finest, Otto Pearlman. Our suits were not yet completed at this point.

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