The red and black ship cuts through the waters of Matanzas Bay, its sails waving in the wind. On deck, members of a pirate crew call one another by names such as Oly Mackarel, Jaybird, Anastasia, Clipper, and Dirty James as they cavort between bow and stern, dazzling their audiences. Their ship, the Black Raven, was designed as a floating live performance theater—and accommodates more than 120 passengers as a crew of performers in full buccaneer dress produce interactive and dynamic plays in the spotlight. The actors work the crowd with a variety of rehearsed but unscripted skits, geared toward audiences of all ages, and may change their performance to engage specific audience members.
They tell a tale to quake your bones at Warehouse 31—on October 13, 1875, a woodcutter by the name of Billy Turner killed his nine-year-old daughter in a horrific accident. Unable to cope with his grief, Turner killed himself. But the pain was too great for death to assuage. Soon Pelham was under siege from a series of mysterious events. A young girl found roaming unattended along a railway. The sound of a chainsaw echoing from the forest. Glass doors sliding open as soon as somebody stepped in front of them. Today, Warehouse 31 stands on the site of that ill-fated lumberyard, and guests can experience some scares of their own, thanks to a cast of monsters, high-tech animatronics, and gravely unhinged clowns.
History is built into the very foundation of St. Augustine Amphitheatre. Built in 1965 to commemorate the city's quadricentennial, the stage immediately began featuring Cross and Sword, a historical drama about the founding of St. Augustine. It was a tradition that continued unbroken for 32 years. In 2002, St. Johns County funded a refurbishing of the amphitheater. Five years later—after upgrading the capacity, constructing a hikeable arboretum, and clearing out lingering conquistadors—the new facility is capable of comfortably hosting up to 4,100 concertgoers.
Formed in the glory days of heavy metal, Queensrÿche rocks audiences with songs that reveal the fierce polish of 30 years of evolving artistry. The band's distinctive mix of prog rock, metal, and subliminal messaging rocketed its Empire album up the charts, launching hits such as "Silent Lucidity," "Jet City Woman," and "Best I Can." Normally reserved only for members of Queensrÿche's fan club, a backstage meet-and-greet lets a small group of the devoted make personal connections with the four lords of loudness, shaking their lightning-fast hands and comparing headbanging techniques. Opening band Driven thrashes through a set of classic hard-rock covers and original cuts as raging as a riverbed full of angry bulls.