I cannot say how I ultimately came to this, but how funny it is to see Dr. Ed Bauer already an alcoholic in 1968, and his lawyer just happens to be the father of Miss Elizabeth Harriet "Melissande" Wilson.
Thanks for the Peter Burnell article, Carl. This is one I had not seen. Wow, does Peter look young in those photos! The one in which he's holding the book -he resembles a teenager. His youthful looks put him in good stead to play Mike Powers much younger than his age, just as Nancy Donohue plays much older with her hair up, even though only four years separates her and Burnell. Your efforts are appreciated, as always.
robbwolff, Peter Burnell vacationed for many years at 581 Commercial Street in P-Town. The house was owned by his partner Gerry Mast. You should check it out when you are there. My husband and I may be in P-Town at the end of October/beginning of November. We vacation there every autumn when we can coordinate schedules. It is far more peaceful, and we enjoy driving down The Cape from Boston. If you and I are there at the same time and you have the time, perhaps we could meet for drinks or dinner. I might bring along some very rare soaps to watch!
Mimi Kennedy did not play Phoebe. When the character returned in 1972, absent since 1968, actress Laurie Kennedy was cast in the part. Laurie is the daughter of film actor George Kennedy. It is my understanding that Kennedy could not cope with the pressure of live performances and was let out of her contract after only a few weeks in the role. Leister replaced her.
Johanna chose not to renew her contract, and Slesar used her departure in the Claude Revenant plot, which affected most every character on the canvas.
Phoebe's first story upon her 1972 return involved her affair with the older Ashley Reynolds. Ashley was married to wealthy socialite Kay LePage. He convinced Phoebe that he wanted to divorce his wife, and of course he had no intention of doing so as her money supported his carefree lifestyle. The affair with Ashley segued into two major plots.
In the first, a concerned Martha hired private detective Joel Gantry to expose Ashley as a liar. Gantry was also investigating Nicole's boss Jake Berman, whose first wife Edith had committed suicide months before. It transpired that Edith had in fact died by Jake's hand, and he made it look as if she took his own life. Shortly thereafter, Jake himself was murdered, leading to Adam Drake being arrested and tried for the crime. The real killer was Joel Gantry. Unknown to anyone, Edith Berman was his mother from her first marriage. Kevin uncovered evidence incriminating Joel. Joel kidnapped him, took him to a deserted cemetery and forced him to dig his own grave.
The second major story to offshoot from Ashley involved his wife Kay's father, entrepreneur Walter LePage. Following her divorce from Ashley, Kay married Laurie Karr's ex-husband Vic Lamont. Vic had divorced Laurie after she had an affair with Johnny Dallas, who had mob connections and had been hired by Jake Berman in the plot mentioned above. Johnny's restuarant The New Moon Cafe had been infiltrated by the mob. Several characters were killed off, including Vic himself, who died without knowing that his father-in-law Walter LePage was head of Monticello's crime syndicate.
Yes, Phoebe's death created the perfect environment for Geraldine to push Raven and a vulnerable, lonely Kevin together. Of course, it eventually had fatal consequences for poor Kevin.
Stuart's treatment of Ellen Holly was despicable and did not serve the series well. I could not tolerate Burghardt even without knowledge of his offscreen personality. He appeared very cold, arrogant, and unlikeable onscreen, too. I had not really considered this before, Monika, but I am wondering now how the story would have played had Conrad Roberts been hired as Dr. Jack Scott? I think that he and Ellen Holly would have worked well together, onscreen if not off.
The final executive producer, Gerard Straub, dropped the live-action beauty shots and replaced them with stills in the summer of 1982.
Monika, the current theme we are heaing on Retro TV will be replaced in 1971. It seems that it occurred during the late summer, but I might be wrong. At that point, the music production changes from Robert Cobert to Score Productions. Bob Israel of Score composed the theme. It lasts until March 1977. For that year's anniversary episode, the series premiered an opening title sequence and re-orchestrated Israel's theme to what is commonly referred to as "pop flavored," though the end theme is actually slower than the original theme. In August 1980, Israel's theme was dropped altogether.
The 1971-77 orchestration is my favorite of all The Doctors' themes. It is really a lovely piece music. If you have viewed the soap opera segment of Tom Snyder's Tomorrow talk show on my channel, all of the background music is the original orchestration of Israel's theme. A YouTube poster merged an audio copy of the theme (from a 1973 episode) with his own "custom credits" below.
I agree. There was some wonderful material at OLTL under Stuart, but again, it was very much the hard work of Gordon Russell, the directors, and the fine ensemble of actors. Stuart generated conflicts between actors. He was just a junior version of Paul Rauch, though Rauch, cretinous as he was, possessed some creativity and flair on occasion.
I would ascribe a good deal of the change in atmosphere at The Doctors to the new producer Joseph Stuart, who assumed the position from Allen Potter in 1973. Quite frankly, I never cared for Stuart as a producer or as a person. His comments in Jeff Giles' book annoyed the hell out of me. To this day he finds it a personal affront that he was let go from The Doctors when (as he tells it) he won the show its Emmy. What gall. He had hardly walked through the door when that award was presented, and it was for material that was largely produced by Allen Potter.
Stuart is an egoist. He was not an artist or creative, either. He was a suit hired by the network to work the numbers. Under Stuart, the show's ratings dropped significantly. This was in a period when it became the first series in seventeen years to regularly beat The Edge of Night.
Peter should have been paid what he was worth. Some of the actors following him were fairly good, and some fairly miserable, but none of them ever captured the soulfulness he brought to the part. The idiom was not used at the time, but he played a "legacy character," and his loss was felt from that point onward as later producers and writers furthered damaged the moral center of the story by turning Matt into a belligerent alcoholic and Maggie an adultress. Linda Grover and Chuck Weiss gave an admirable attempt to turn the tide in 1978, but it was to no avail. The damage had been done, and too many in the audience had defected.
NBC did not own Another World and did not archive the early black-and-white or color episodes. However, black and white kinescopes were routinely made to air in markets that did not have videotape machines or in markets that chose to air the series out of pattern. Procter and Gamble did syndicate early 70s episodes of some of its soaps, including Another World which was telecast in Australia as early as 1974.