The Last Views
After the 1996 season, Cross and Sword went into hiatus, but the amphitheatre remained active with the St. Augustine Passion Play, the Gamble Rogers Folk Festival, a number of concerts, Conquest & Colonization, Earth Day Festivals, productions by the Atlantic Shakespeare Festival in the summer and again in a winter season, and the commencement of the Old City Farmer's Market. These photos were taken in 1998 at the height of that post-Cross and Sword period.
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From up stage center
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From the "rainshelter" at the back of the house**************
Demolition of the stage was on January 12, 2000. The old boards were too weak and too expensive to fix and with more than 20 levels, the stage was a challenge for every show or concert. Until renovations of the amphitheatre could start, the flat concrete slab base on which the stage sat was the most practical and versatile use of the area with most events bringing in portable staging. (click on an image to enlarge)
The 1996 Program - The Last Program
In April 1997, Cross and Sword's Board of Directors decided not to stage a show that summer, making the previous season, the 1996 season, the show's last after a 32 year run. (click on the image to enlarge)
The 1987 Program
By the 18th season in 1987, Cross and Sword exhibited a strong relationship with Florida School of the Arts. Many of the production crew were faculty members and many of the cast were students. (click on the image to enlarge)
Beat me...hang me!
There are many memorable scenes in Cross and Sword, both for the audience and for the cast. One of the most memorable sequences of scenes are those leading up to the Hurricane Dance which include Juan Rivas’ great line, “Beat me...hang me.”
Above, James Remar, the 1974 Juan Rivas, is flanked by Paul Williamson (on left as soldier) and Thomas Rahner (on right) as Pedro Menendez.
Below are pages from a script from the 1975 season with notes from that season’s Juan Rivas, Kerk Fisher. (click on any image to enlarge)
Below are pages from a script from the 1975 season with notes from that season’s Juan Rivas, Kerk Fisher. (click on any image to enlarge)
Ten Years On
In 1975, Cross and Sword was in its 10th season and meeting with a level of success that kept nearly 200 people employed for three months during the summer while they staged 65 shows from late June through Labor Day weekend. The organization's Board of Directors from that year reflect the broad based support the community gave the production. (click on image to enlarge)
The 1967 Program
The opening page of the 1967 program includes many names familar from the show's premiere three years earlier. There are also new names that would become familar in the years to follow. (click on image to enlarge)
Act I / Scene 1.
CROSS AND SWORD
A SYMPHONIC DRAMA
of the
SPANISH SETTLEMENT OF FLORIDA
(With Authentic Folksongs, Religious Chants, Dances and Hymn Tunes)
by
PAUL GREEN
First produced in the Saint Augustine amphitheatre June 27, 1965,
in celebration of the 400th anniversary of the oldest city in America.
ACT I
SCENE 1
The dark shadow of evening comes moving in from the eastern ocean and spreading its vast wings over Florida and Anastasia Island. Opposite and to the west the fan-spread of fires reaching up the sky dies out before it and the red circular-saw disc of the sun which has already begun to cut deep into the body of the recumbent earth with its fiery jagged teeth now sinks down and under out of sight. The audience is gathering in the amphitheatre for the play. The muffled and shadowed big Center Stage in front stands silent and waiting. So do the various acting areas to the Right and the Left and the deep woods beyond -- the whole making a wide sweeping arc all "charged up" for the drama and where action may break out at any time. A great cathedral bell starts tolling off at the Right rear. The play is ready to begin. The audience lights blink twice, and as the bell gives a few more tollings. these lights go down to half-dim. The bell is silent. The theatre music strikes up in the opening hymn and plays it through once. A chorus of men, women and children's voices bursts into song off-scene in the direction of the bell, the music accompanying. This singing is both live and taped -- the unseen chorus singing live around properly placed microphones. The song spreads through the sound system until it permeates and envelops the amphitheatre. The audience grows quiet, and each one can begin to be alone with his own thoughts. The vibrant harmony fills the night-falling air with benediction and grace. And in some listening hearts the feelings of sweet devotion and peace are awakened with touches of bliss even and of adoration here and there before the mystery of the Triune God, his Son, the Holy Virgin Mary, and the redemption of man's soul from sin and death -- man the mystery-mysterium on this spinning compulsed globe, man meditating, man thinking under the open starry sky, a communion with nature, nature likewise a mysterium.
(Copyright 1966 by Samuel French Inc.)
Opening night ticket stubs
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