Monday, November 21, 2022
HomeTheatreAMERICAN THEATRE | Stage Frights: Theatre Ghost Tales, Vol. 7

AMERICAN THEATRE | Stage Frights: Theatre Ghost Tales, Vol. 7

Ghost gentle at New York Metropolis’s New Victory Theater. (Picture by Jomary Peña)

Completely satisfied Halloween! As American Theatre has carried out since 2016, we’ve collected one other batch of haunted theatre tales from throughout North America. We hope this yr’s anthology of ghost tales makes for an exciting addition to your assortment of vacation treats.

Dime Drops, a Blue Girl, and a Thriller Rest room

As readers of this collection know, theatres with probably the most historical past typically have probably the most ghost tales. Trinity Repertory Firm’s complicated in Windfall, R.I., the Lederer Theater Heart—which opened its doorways in 1917 because the vaudeville home Emery’s Majestic Theatre—isn’t any exception. Workers members have been observing unusual occurrences in numerous areas for a very long time.

“I’ve personally witnessed the elevator arriving empty at evening between 8 and 9 p.m., as I’ve spent quite a lot of time within the voms of the Chace Theater,” says Trinity Rep receptionist Kelly McDonald, who additionally served as home supervisor from 2006 to 2019. “I’ve additionally discovered dimes the place the spirit supposedly hangs out within the Dowling Theater on home left.” What’s so particular about dimes? As this system for the troupe’s upcoming manufacturing of A Christmas Carol (itself a ghost story) factors out in a compendium of among the theatre’s eerie tales, devotees of paranormal exercise imagine that the unexplained look of dimes indicators the presence of spirits.

The principle keeper of the venue’s ghost tales in recent times is former technical director Karl Orrall—McDonald notes that after he even led a tour for the employees of all the reportedly haunted spots. Orrall has had his share of spooky interactions himself. Remarkably, he notes, when “somebody introduced in a ‘delicate’ and gave them a tour of the constructing,” that particular person detected all the alleged sightings with none prior data.

Among the many many spirits Orrall identifies is the obvious ghost of a kid.

“Usually within the Dowling, once you stand onstage and look towards the sales space on the nook of your imaginative and prescient, you may see a darkish spot, or possibly it’s a mass, home left within the center row,” he says. “Typically when it’s quiet and nobody has been within the theatre, you may shock it and it is possible for you to to obviously see a small boy standing there. He’s wearing brown pants, a white shirt, and a corduroy cap—after which he’s gone. I do know a number of different folks have seen him through the years.”

Then there’s the Blue Girl. Within the late Nineties, Orrall served as the corporate’s stage carpenter. At the moment smoking indoors was authorized, he mentions, “and the stage crew would hang around on the steps outdoors of the electrics store and smoke and drink espresso as a result of there’s a window on that stage.” He continues, “The primary time we noticed her was on the locations name for a present I can’t bear in mind.” As a number of members of the crew ready to maneuver to locations, he says, “we’d wait till the actors handed earlier than we’d transfer. All of the sudden a translucent, barely blue lady got here out of the closed electrical store door, headed in the direction of the stage door to the Chace Theater. As she handed the window I bear in mind having the ability to see by way of her. She was in a rush and referred to as out the title Laura a few occasions.” I remembers {that a} manufacturing assistant in a chair on the touchdown beneath the greenroom stood up and shouted, “What the fuck was that?” after which ran as much as the greenroom. “A number of crew members averted the again corridor for some time. I believe we noticed her two extra occasions over the following couple of years.”

Orrall additionally remembers one run of A Christmas Carol a few years in the past by which the present “had two casts, two working crews, and two carpenter crews constructing it. At one level your entire evening crew stop, so the day crew needed to work some in a single day shifts.” At about 3:30 a.m. throughout one in every of these shifts, Orrall went as much as the restroom within the greenroom of the Chace, the place this season’s Christmas Carol will start performances this week. “I pushed open the door, and a person was standing there washing his fingers,” he says. “He was sporting a inexperienced sweater with a tan Egyptian sample on the collar with a pair of tortoise-shell glasses tucked into the collar, brown pants, and really shiny brown loafers. I mentioned, ‘Whats up,’ and he mentioned, ‘Whats up, you guys are right here late tonight.’ I mentioned one thing in regards to the different crew quitting and that this was an enormous construct. I went right into a stall and heard him seize some paper towel.”

Regular sufficient, proper? Orrall continues: “At this level he requested how lengthy I had been at Trinity. I replied, after which he mentioned that the set was wanting good and he instructed me to have a great evening.” Silence. “I left the stall and realized that the restroom door was not swinging closed and that I didn’t hear it shut earlier than I left the stall. I ran out after him however couldn’t see him, and oddly thought to myself that I by no means heard his sneakers on the tile.” Orrall provides, “He was not wherever to be discovered. I requested the TD if he knew of anybody else within the constructing, and he instructed me that everybody else had left. All of us averted the greenroom for the remainder of the evening. Years later I noticed his image hanging within the foyer; out of respect I can’t say who it was.”

Trinity Rep’s constructing. (Picture by Anne Harrigan)

Disembodied Voices and Self-Opening Doorways

The Rodgers Theatre in Poplar Bluff, Mo., was opened by impresario I.W. Rodgers as a film theatre in 1949, and present Rodgers Theatre supervisor Shanna Eason notes that there have been so many alleged encounters that ghost hunter teams have led excursions of the constructing and in addition conduct in a single day investigations that flip up fairly a little bit of exercise. “I can’t confirm the knowledge they share on their excursions,” she concedes. “Nonetheless, we have now had some attention-grabbing tales and I personally have skilled unusual issues.”

What sorts of unusual issues? Why, phantom doorways, as lately as final month. “Many of the doorways to the theatre have been upgraded to hole metallic doorways with panic bars,” Eason explains, so “they should be opened from the within by partaking the bar and typically, the bolt locks are engaged.” She notes that on a number of events that the theatre’s doorways have been mysteriously open, “and I’ve to drop what I’m doing to go shut them. Our cameras present them opening and shutting on their very own! I’ve been laughed at. More often than not I’m alone there, and I assumed somebody was lurking; nevertheless, the cameras present nothing and the voice sounds proper behind me.” Eason says she isn’t bothered by these presences: “I’ve by no means been scared by any of the actions as a result of I like the historical past. It has been a great time, for certain!”

The Prankster Performer

Former Broadway home the New Victory Theater, which first opened as Theatre Republic in 1900, has a wealthy historical past, and it appears that evidently among the memorable figures who’ve trod the theatre’s boards and backstage have by no means left. Actor Tim Dolan, whose love of theatrical ghost tales led him to determine the strolling tour firm Broadway Up Shut, feels the construction’s intensive historical past has lot to do with the assorted ghost encounters through the years. “It has had its fair proportion of huge personalities which have filtered by way of its doorways,” Dolan says, “every leaving their mark in their very own distinctive methods.”

Colleen Davis, the New Victory’s manufacturing coordinator, has witnessed firsthand the typically mysterious outcomes of these legacies. From her first day on the theatre, working as an assistant stage supervisor on the day of the opening celebration of the newly renamed theatre in 1995, she discovered that the constructing and gadgets in it could behave in unusual methods. “For one entire day, I couldn’t get a lock or a key or a key code or a door to work, the photocopier—nothing labored for me,” she remembers. However when another person tried, all the pieces functioned correctly. This was earlier than Davis heard any ghost tales in regards to the theatre, and he or she thought the constructing one way or the other hated her. However she didn’t hand over, and after freelancing as a stage supervisor for the group for just a few years, she joined the employees in her present function in 1998.

A yr or so into Davis’s full-time tenure, throughout a renovation that led the wardrobe crew to work from the lure room beneath the stage as a substitute of their common designated house, simply earlier than a efficiency by the Australian group Circus Oz, a bow tie went lacking. The crew had final seen it on the performer’s dressing room desk. “And it’s not there,” Davis remembers. “We hunted, hunted, hunted—couldn’t discover it.” Ultimately, a search occasion composed of Davis, the stage supervisor for Circus Oz, and the New Victory’s wardrobe supervisor gave up and determined to start out the present with out the tie. Then, because the three of them have been “strolling previous the wardrobe room, there was a stack of metallic cabinets. There was a plastic bin that truly shot out and flipped the other way up, and fell on its lid,” Davis provides. The wardrobe supervisor “picked up the bin, and on the ground was the bow tie, and all of us mentioned, ‘Thanks,’ and went on with the present.”

Mrs. Leslie Carter in 1906.

Davis says that this turned a sample: An merchandise would disappear from one of many dressing rooms, they’d go on the lookout for it, and “proper after we’d hand over, that’s when it could be refound someplace else. Or possibly proper the place we’d regarded.”

That wasn’t the one time a bow tie went lacking and reappeared. Sharlon Wilson, the New Victory’s wardrobe supervisor at the moment, recounts the same incident. “I imagine it was 2001, I put a bow tie on a rack onstage, and I went to the restroom, and once I returned it was gone,” she says. “I used to be the one particular person within the theatre on the time—as you already know, the wardrobe persons are the primary to return in and the final to go away the theatre. I couldn’t imagine my eyes: Once I realized that the bow tie had moved to the alternative facet of the stage, I used to be in disbelief…I may’ve sworn I noticed a blurry picture of an individual. I used to be so frightened that I snatched the tie and moved swiftly to place it again in place and left the theatre.” Wilson provides that, on events when she was alone on the theatre late at evening, typically she “would hear issues transferring round and a few faint voices once I would put costumes onstage or decide up laundry off the stage,” and “I’d typically see photographs run previous me.”

Davis experiences that whereas she isn’t conscious of any incidents in recent times, the mischief she did witness continued for a while.

“She stored taking part in pranks on us,” Davis says. “She disassembled an accordion on me as soon as, like, the blocks and the reeds inside. They have been all unscrewed, like all of them have been all around the case.” Why does she gender the spirit as a lady? “Everybody’s assuming it’s Mrs. Leslie Carter, as a result of the theatre featured her whereas she was a star in New York” within the first decade of the twentieth century, when the venue was referred to as the Belasco Theatre. Davis acknowledges that they will’t be certain it’s her, “however the guess is that she’s a performer, as a result of she by no means messes with the present.” Regardless of the situation, “she at all times fixes it, or we repair it, by showtime. We’ve by no means really had a prank that affected the present.”

The Devilish Deacon

When director Mike Ricci, now based mostly in Minneapolis, turned creative director of an area theatre in North Carolina (which declined to have its title included on this story) in spring 1990, the receptionist and field workplace supervisor, plus just a few board members, instructed him tales of a priest who allegedly died within the constructing when it was a Baptist church; he had been a deacon who had led the congregation. Because the employees consisted of simply Ricci and the field workplace supervisor/receptionist, Ricci explains, his function was “just about of a one-person operation,” with duties starting from price range administration and fundraising to bodily upgrading the house and designing and developing units. Consequently, he notes, “I spent quite a lot of hours in that constructing, from early morning to previous midnight on some days.”

On one scorching summer season evening in that first yr, Ricci was alone within the theatre and wanted to get to the sunshine board. He explains that reaching the board on home proper required going throughout the balcony, as a result of the house retained the church structure—“pews for seating, stage constructed over the baptistry, balcony the place the lighting sales space was arrange, stained-glass home windows surrounding the viewers and backstage”—and had entry to the balcony on simply the home left facet.

“As I began crossing the balcony,” he remembers, “the temperature all of a sudden dropped. I received chilled to the bone, and the hair stood up on my arms and my neck. I had by no means skilled that earlier than. Considering that it could be the deacon, and that he could be resting up within the balcony, I rigorously made my method over to the sunshine board, made the changes I wanted to make, and made my method throughout, after which again down the steps and onto the stage.” When he resumed his work, Ricci says, “I started to really feel very uncomfortable, virtually like a weight on my chest, issue respiration, and many others.” He stood up and introduced, firmly and clearly: “I do know you’re right here, Deacon, and I’m sorry about what’s occurred to you. However I’ve work to do, and I’m going to be spending quite a lot of time on this constructing, so let’s make a truce that the each of us might be in right here on the similar time with out bothering one another. Okay?” Ricci says he paused a bit, then “started to really feel extra regular—the burden was gone, and my respiration returned to regular.” After that, Ricci says, “I at all times felt that I had made some form of peace with the deacon, and we have been in a position to coexist within the constructing with out actually getting in one another’s method.”

Apparently the truce didn’t prolong to Ricci’s spouse and daughter. A couple of yr after that incident, Ricci’s spouse, painter and designer Ellie Ricci, was engaged on the corporate’s 1991 manufacturing of Frankenstein, and experiences a weird expertise whereas she was washing off brushes. She says she went to the again of the constructing to the slop sink; to take action, due to the church setup, it was essential to go down a hallway to the store, and on the reverse finish of the store was a small room with a sink. “I went down the hallway—no person else was round on the time—walked previous the cabinets on my proper that went over my head a couple of foot or so,” she says. On the nook put up of the highest shelf was a corduroy Florida State baseball cap. “It was sitting on prime of that put up for a really very long time, years, I’d say. Once I walked previous it and received to the again the place the door to the sink was, I heard one thing drop behind me. I rotated and it appeared that the hat was dropped to the ground. However to ensure that that hat to return off that peg it could have needed to be lifted and dropped, and it was dropped proper facet up onto the ground.” She regarded round, referred to as out, and when nobody responded, she proceeded towards the sink.

Together with her again to the door, she says, she “stored turning round as a result of I stored considering there was somebody behind me, possibly wanting to make use of the sink, I don’t know, however no person was there. I washed up as shortly as I may as a result of I began getting the creeps.” She headed again to the theatre, put the cap again on the put up or on a piece desk, “walked out the door and began strolling down the hallway. Then in my ear, very near the again of my head, at my proper shoulder I heard an enormous hiss that was too shut for consolation, so I screamed and ran again to the stage. For sure, I used to be fairly rattled.”

Their daughter, Danielle Ricci, now a choreographer, director, and educator, was 8-10 years previous throughout Mike Ricci’s tenure on the theatre and attended elementary faculty throughout the road from the theatre. She hung out there every day after faculty whereas her mom was at work. “As a child I grew up with a present of feeling power and listening to issues,” she remembers. “I didn’t prefer it, as a result of it scared me and made me uncomfortable.” She notes that she’s an solely baby, “so I used to be left to myself on the theatre and would discover methods to fill the time as my dad both labored in his workplace or within the store constructing a set. There have been many occasions the place I felt that I used to be being adopted—particularly on the stairways on both facet of the constructing.” She describes how she’d climb the steps “in a bizarre method in order that my again was towards the wall in order that I didn’t really feel the presence behind me.”

A number of recollections notably stand out, she says. “There was a time by which I used to be sitting and drawing within the break room and was listening to my mother’s voice name me from the store space of the theatre,” she says. “I knew my mother was at work and thought it was unattainable that she was there. However I preserve listening to my title being referred to as. So, I referred to as her from the telephone on the desk I used to be sitting at, and he or she was in truth at work.”

Then there was the time her faculty choir was studying a musical theatre medley that included the title tune of The Phantom of the Opera. “There was a day the place I used to be within the foyer on my own, singing this a part of the live performance to myself,” she remembers. When she received to the Phantom’s line “Sing, my Angel of Music!” she says, “I heard these disembodied phrases proper behind my proper ear as clear as day.” She was so upset, she says, “I ran out of the room looking for my dad.”

On one other event, she was in her father’s workplace, which had beforehand served because the deacon’s workplace. She explains that her dad’s “desk sat dealing with the door, and a wall of home windows was to the proper. There was a heavy window that was at all times propped up with a chunk of scrap lumber reduce to carry the window open.” As she sat on the desk, “filling my time, I noticed the highest of the piece of wooden forcefully drop out, inflicting the window to slam on the wall. There was a loud sound just like the furnace roaring, and the chair I used to be sitting in spun round.”

In sum, Danielle says she was at all times uncomfortable on the theatre as a result of the deacon’s presence “was at all times round me. There are a lot of occasions I’d be in a room doing no matter I used to be doing and I’d get so overwhelmed with a sense of his presence that I’d go discover one other particular person to be with.” These sensations, she says, “made me conscious that the tales in regards to the deacon have been very true.”

Albany Little Theatre (now referred to as Theatre Albany).

Voices in My Head

When Bob Shuttleworth was technical director of the Albany Little Theatre (now Theatre Albany) in Georgia from July 1984 to August 1986, he says, he “had heard rumors and legends of encounters on the theatre, a big antebellum dwelling to which a theatre home (stage and viewers) had been connected on the rear.” The constructing has been providing performances since 1932, so there’s been loads of time for these tales to build up. “One legend concerned a bride who died on her marriage ceremony day on the dwelling,” Shuttleworth says. “One co-worker acknowledged that she’s felt a presence move by way of her, leaving the scent of lavender behind.” He notes, “I’m not essentially a believer in such issues, nevertheless I try to preserve an open thoughts.”

On one evening in 1985, at round midnight, he was onstage engaged on a chunk of surroundings for the upcoming manufacturing when one thing weird occurred. “I started to really feel one thing,” he remembers. “One thing intangible. I attempted to easily shake it off, but it surely didn’t cease. A couple of minutes later I observed that the stage had grown noticeably cooler, and that the sensation that one thing was there with me grew stronger.” He was kneeling on the stage on the time and raised his head to go searching, however there was nothing to be seen. “Then I started to really feel nervous, even a bit shaky, however couldn’t determine why. That’s once I heard one thing. Or really, I felt one thing, some form of a voice in my thoughts. It was saying to me, ‘It’s essential depart…now!’ It was calm, however insistent. I laid down the software I used to be holding and stood up and once more regarded round. Then I felt the presence once more saying, ‘Now!’”

Shuttleworth explains he left the software, turned off the lights, and headed out the door, locking it behind him. “As I took the few steps to my van, I started to really feel calmer in a method, however positively unnerved. I actually believed that I had heard/felt one thing. It positively motivated me to go away. I labored there for about one other yr. By no means had that have once more.”

The Ghost Mild and the Wind Walkers 

Although theatre ghosts are usually related to previous, storied venues, Sheila Rocha, chair of performing arts on the Institute of American Indian Arts (IAIA) in Santa Fe, N.M., experiences unusual happenings at her campus’s Performing Arts and Health Heart (PAFC), though its building was accomplished in 2018. When the PAFC was lower than a yr previous, she says, “booms have been arrange for facet lighting. LEDs set, examined, and prepared. We turned off all the pieces, about to stroll out, when a light-weight from the suspension grid light up.” A member of the tech crew went as much as the catwalk and unplugged the instrument. As all of them received prepared to move out, the stage left sidelight turned on. “We’re a bit baffled. Checked the sunshine board—it’s powered off. We unplugged it, but it surely simply remained on. We studied that contraption and all the facility cords from each angle. It had no juice however continued to stay lit.” She provides, “We let or not it’s what it was, locked up and went dwelling. It lastly went to sleep someday throughout the evening.”

Rocha highlights that IAIA “is the primary tribal school to create a BFA program in Indigenous Performing Arts with a state-of-the-art black field theatre,” and notes that this system’s earlier house was extremely inappropriate for efficiency, a “Navajo-inspired construction on the property” that had “horrible sight strains and help poles, poor acoustics, and this peculiar atmosphere.”

One time whereas rehearsing with an Appearing 1 class, “we have been struggling to dam inside of 4 main help beams. We sat on the ground to brainstorm our dilemma. With out warning the skylight turned darkish as apparently storm clouds started to assemble above us.” Rocha continues, “A strong wind fell upon the hogan, subsided, after which we heard the oddest sound of footsteps. On the roof of the hogan we heard somebody or one thing strolling. They moved over the roof from one facet after which to the opposite. A second set of footsteps joined in.” She provides, “We peered upward however noticed nothing by way of the skylight. Steps intensified. The obvious climate change turned an excessive amount of for us, so we determined to gentle a hearth within the wooden range. One of many performing college students picked up just a few logs and opened the range.”

Sheila A. Rocha.

They then heard the wooden drop to the ground. “Everybody turned to see the scholar standing in bewilderment as they backed away. One other pupil jumped as much as see what was within the range.” What did they discover? “A small multicolored chicken lay lifeless inside. It wasn’t a local species from the realm. Nevertheless it lay there unfold out as if somebody had designed its presence—one wing opened like a fan. The opposite wing tucked gently behind the tiny physique, its beak closed pointed upward. An artwork piece with no function.” One pupil rigorously took out the chicken and introduced that he’d bury it outdoors. “He left the hogan, a gust slamming the door shut behind him. The wind whipped up as soon as extra.”

All of them went to the middle of the constructing, in settlement that one thing was deeply off however not realizing what to do. “As shortly because the wind and footsteps arrived,” Rocha says, “they abruptly subsided. The solar broke by way of the grey, and no matter was strolling above our heads relented. The coed returned, and like good theatre folks we went again to work, however with eyes on the clock.”

Rocha additionally remembers an eerie expertise in round 2005 at a theatre in Nebraska (which requested to not have its title included on this piece): “Our Native American ensemble, 4 Instructions, rehearsed and carried out in what was the theatre balcony,” Rocha says, “transposed right into a black field with delicate reminders of its century-old Mediterranean and Moorish structure.” She continues, “Through the Jim Crow period, it consigned folks of shade to the balcony, however later turned the extra modern locus for communities of shade to discover efficiency creation. Mortar holds reminiscence.”

Throughout a break, one of many actors, named Moses, went to the basement to get chilly drinks for the group. Rocha says he heard him shout, “Come down right here instantly!” She says she took the elevator down and stopped in entrance of the fireside within the former smoking room. “I didn’t see Moses,” she says, “however I heard the sound of a bouncing ball from the basement foyer space.”

“Moses?” she mentioned in a stage whisper. “Moses, are you down right here?” Rocha notes that it was chilly within the basement, and the lighting consisted of a faint yellow from sconces on the partitions. “I heard heavy ft strolling throughout the mosaic flooring. The bouncing light as if the ball rolled away. ‘Moses!’ Stage voice two. I’m feeling a bit of creeped out now. I moved towards the sunshine.” The actor responded: “‘Dang, did you hear that?’ My tall Lakota colleague, together with his fingers pushed deep into his pockets, emerged from across the nook—his eyes broad. ‘You see something? However you heard it, didn’t you?’ Rocha says she may do nothing however nod.

Rocha says that though “Moe’s a grown man and a frontrunner in the neighborhood,” that evening “he shook his head, accompanied by a nervous chuckle, half unnerved. His lengthy braids trailed behind him as he cued me to start out up the steps with him.” She continues, “I attempted to ask in regards to the drinks, however having misplaced all curiosity he hustled up the steps, his boots clicking the velocity of hooves at a gradual gait. As we reached the principle touchdown we heard a sound, like a door closing or opening from beneath—and that damned ball, or was it air ducts, or a rat?” She provides, “We froze, checked out one another for a cut up second, then ran up the following flight of stairs laughing, or screaming—stage voice three, who is aware of. All I recall is that we have been alarmed, and it was all I may do to maintain up with him. The theatre was principally darkish till we reached the mezzanine.” She remembers saying, “Sure, I heard it. However I didn’t see something, and also you didn’t both, did you?”

She says he defined that, upon reaching the highest of the basement stairs, Moses heard a baby’s voice and the sound of a bouncing ball. “He referred to as right down to see what baby could be there, if maybe somebody was nonetheless within the constructing. Youth courses hardly ever prolonged past our night rehearsal time three flooring beneath us and tucked away. Nobody answered him. However he continued to listen to the bouncing ball and child sounds, so he determined it was greatest to see if somebody, one way or the other received locked within the theatre.” When he discovered the house empty, he referred to as out to her. “However I got here in from the route that he had heard the voice and it was solely the dim chilly—nobody was there.

“We hopped the elevator from the mezzanine to keep away from any pointless encounters with the magical,” she says. After they reached the black field, two of the youthful performers, accompanied by two older actors, “approached me because the director to explain how that they had been mysteriously accosted. One baby’s braid was pulled by…nobody; an older teen in a again room noticed somebody open her door whereas she was altering, however nobody was there.”

Rocha describes what occurred subsequent: “As our Indigenous methods instruct us, we did the suitable ceremony and prayer to handle the tough spirits who got here to taunt us,” she says. “We have been in a position to get them to go away that night, however different rehearsals for different exhibits opened new portals for supernatural friends who took their turns invading our areas: shadowy figures watching us from empty viewers seats, voices muttering in different languages, and an occasional tittering baby reminding us the sacred can equate to the unknown.” Rocha repeats: “Mortar holds our recollections.”

Russell M. Dembin (he/him) is a former managing editor of this publication.

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