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As things happened, I replaced Mitch on an ongoing basis. I sensed a touch of stubbornness and jealousy (perhaps not undeserved) on the part of the New York cast. I came to feel that Joe Pecorino did not appreciate allowing the L.A. cast to dominate his stage. On one occasion, I recall not being allowed to leave the Wintergarden Theatre until after intermission. Mitch had returned and appeared capable of completing the show at that point. I remember on another occasion, I was preparing to leave the theatre just before intermission. Mitch was singing the song Yesterday, and his voice started to falter. Bob Strauss, the stage manager, told me, “You better hold off before leaving, it sounds like Mitch is in trouble again.” From Yesterday until the intermission was about 20 minutes, at which point I was told, “Go to the second floor for makeup and get dressed.” I was going on. From that point on, I performed the rest of the show. You need to understand that when I went on to perform with the New York cast, I had to sing Mitch’s parts, which were the low George Harrison parts. Joe would sing the Lennon parts, and Leslie would sing the high McCartney parts. On the other hand, when I performed with the L.A. or Bunk 2 cast, I sang the McCartney part, P.M. Howard sang the Harrison part, and Randy Clark sang the Lennon part. You know what? I had to know two roles, and I really got tired of it.

I was once again asked to fill in for Mitch Wiseman. I had a high level of respect for Mitch and his talents; and sometimes vocal breakdowns do happen. But I had my own issues to deal with. I came to be called the “Iron Throat.” Come to think of it, I saved that show from going dark. I simply got tired of it. At that time, I had called a meeting with Joe Pecorino, Leslie Fradkin, and Justin McNeill and said, “Look, if you won’t allow the L.A. cast to go on, but you want me to sub for Mitch, I have no problem with that. But I’m going to sing the McCartney part. Leslie, you’re going to sing the Harrison part. Joe, do what you do.” We all agreed. We went on and did some great work. The problem was that all of this created a lot of animosity with the other members of the L.A. cast.

The experience of performing on New York’s Broadway stage marked a very memorable transition in my life. I recall the nights I was standing offstage before going on. There was a gentleman there, in a capacity similar to stage manager. His name was Charles. I learned so much from him. And just being a part of Beatlemania was a highpoint in my life.

I recall that long after I left, there were multiple lawsuits over issues I prefer not to go into here. But at the very beginning, when I was going through all the hardships with Player and had auditioned for Beatlemania, I went to see Bruce and Ronnie Grakel at their home in Brentwood. I asked them what should I do. “Do I perform this show or not?” I had concerns over the sensitivity of all the material being Beatle related. Interestingly, Bruce informed me that he had spoken to Ringo Starr about this same matter. Ringo said, “Tell him to go for it.”

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