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Found 11 results

  1. I was never really a CBS soap viewer (I primarily watched the NBC and ABC shows), unless I changed the channels during commercials or through the scenes of characters I didn't care for. Even though I never watched much of ATWT, I was always struck by the character of Lucinda Walsh, her relationship with her daughter Lily, and just by the way she commanded a scene. Also, my sister and I subscribed to both SOD and the now-defunct SOM starting in the mid-90s and I would read every issue cover to cover. So I knew what was happening on every show (and this is when there were 10 or more still on the air), and I would also read about all the actors. I became familiar with Elizabeth Hubbard and knew that she was a force to be reckoned with, both on- and off-screen. From reading the magazines and from reading books by people like Gerry Waggett (and the older, long out of print soap books), I knew that Ms. Hubbard had acted in several soaps starting in the early 60s before hitting big on a long-defunct show called The Doctors. I couldn't even picture this lady who played a cutthroat, self-made businesswoman playing a refined and cultured lady doctor. I checked out a few episodes on YT from the last year of the show and it just seemed like she just blended in with the wallpaper - TIIC didn't do much with her. Flash-forward a few years later - ATWT was cancelled in 2010, and four years after that comes the announcement that a channel called Retro TV will be airing reruns of The Doctors. Long since disillusioned by how shabbily the networks treated the soaps and the remaining viewers, added to the fact that the stories they aired were so youth-oriented and not what I was interested in, I decided to give the reruns a try. From the first episode, I was hooked. Liz Hubbard was the big surprise for me. Dr. Althea Davis was the polar opposite of Lucinda Walsh but every bit a force to be reckoned with. For one thing, she's a female physician with a huge responsibility - Althea is in charge of Hope Memorial Hospital's Outpatient Clinic. She's fiercely loyal to her friends, colleagues and patients, and has one of the best friendships I have ever seen on either daytime or primetime TV with fellow doctor Maggie Powers. She's a good mother to her exasperating 13-year-old daughter by her first marriage, Penny Davis (played at this point by Jami Fields, one of the most underrated juvenile actresses of the genre). Last but definitely not least is her romance and subsequent marriage to the grumpy, brash, bombastic and yet loving, dedicated and passionate neurosurgeon and Head of the Research Lab, Dr. Nick Bellini (Gerald Gordon). I wasn't even born yet when these episodes aired and still, Althea and Nick are one of my all-time favorite TV couples. The sexual tension and pure heat Liz Hubbard and Gerald Gordon put into their characters still crackles over 46 years later. Whether they are having a loud argument or making up afterwards, they never hit a false note. Happily, the two actors stayed friends for many years, and long after the show was over. Anyway, Ms. Hubbard commands every single scene she is in as good girl Althea, just as she would later do on ATWT as bad girl Lucinda. The main things the two characters had in common was their fierce love for their daughters (one of the best aspects of Liz's acting is how well she performs with her screen children, from Jami Fields on TD to Martha Byrne on ATWT, to then playing grandma to Lily and Sierra's kids) and their love for certain male doctors (Dr. Nick Bellini for Althea and Dr. John Dixon for Lucinda). As good as she was as Lucinda (and I went and watched a bunch of ATWT Lucinda clips to be fair) - I have to give the edge to Althea. The current storyline Althea is in right now in the Retro reruns has really shown off La Liz's range, as Althea is stripped of her physical strength and is emotionally tortured, becoming very meek in the process. It's a shame that Ms. Hubbard and Mr. Gordon never acted together again after TD (to my knowledge). They were/are extremely gifted performers separately, but together they took both each other and the material to a higher level. They were pure magic together.
  2. I wasn't sure about just putting this in the ATWT thread as a lot of the show had little to do with ATWT by the end of its run and because the show is so rare that I thought people would want to see it in its own right. So anyway, Rob Wargo on Youtube found this very rare episode and here it is:
  3. I don't know whether you've seen this but I only just encountered this video at random while searching for some new ATWT and GL uploads. Even though Ed Bryce's time on GL was years before my time (i.e. when I started watching GL), I think it's pretty safe to assume that everyone knows the integral role Ed Bryce played on GL, in addition to his resume in theater and the early days of TV. It was interesting to see that Scott Bryce (Craig, ATWT) produced this video, which was only uploaded about a year ago, though his father died in 1999. Just on a purely superficial note, Scott has his Mother's eyes.
  4. Brandon's Buzz presents an exclusive conversation with peerless soap icon SHARON GABET (The Edge of Night, Another World, One Life to Live) on Thursday, July 3, 2014, at 10pm EDT / 7pm PDT. The episode will stream from the following direct link beginning promptly at the top of the desginated hour: http://www.blogtalkradio.com/brandonsbuzz/2014/07/04/an-exclusive-conversation-with-peerless-soap-icon-sharon-gabet-on-the-buzz Beginning Friday morning, the episode will be available as a FREE podcast download from the iTunes music store. Hope you enjoy the interview; Sharon and I went deep on her experiences on The Edge of Night and the rest of her soap days, as well as her new ventures in book publishing over the course of a nearly 90-minute conversation.
  5. EP 21 NEWS SPREADS FAST

    INT. MONA LISA - DAY Carter grabs a faint Lisa before she falls do the ground. Scott rushes over to a table nearby and pulls out a chair while Carter drags Lisa to the chair, seating her. Lisa: (faint) Scott? Is it really you? Scott: Yes, Mom. Carter comes back to them with a glass of water. He hands it to Scott, who is now kneeled next to his mother. He holds the glass while Lisa takes a sip. Scott: You all right? Lisa: I will be . . . (strokes his face gently) So glad to see you . . . Lisa then strikes her son across the face. Scott holds his face, which stings. Carter is stunned. Lisa jumps up and hovers over her son. Lisa: How dare you! How dare you do this to me! On Scott totally shocked, CUT TO INT. BARBARA & HENRY'S HOUSE (KITCHEN) Henry, with a chef hat and apron that reads "I rub my meat for two mins," dances around the kitchen while the pots of the stove create a slight fog from the steam. Henry: (singing) Pour it up! Pour it up! That's how we ball out! . . . Strips clubs and dollar bills-- He is abruptly interrupted by a knock at the door. Aggravated, Henry opens the door to reveal his younger sister, CLARK COLEMAN. Henry is speechless. Clark: (distraught) I need your help. On Henry worried CUT TO INT. TOM & MARGO'S COTTAGE - DAY Mo and Casey sit on the sofa making out. Tom then barges in slamming the door. The two break apart like two teens that have been caught in the act. As the rearrange their clothes: Tom: Where is your mother?! Casey: She's at the station. What's wrong? Tom: Emily! Casey: What now? Tom tosses the paper at Casey before he storms up stairs. Casey unballs the paper to see the headline (from last episode) featuring Tom, Carter, and Scott. On Casey cringing, FADE OUT http://www.youtube.com/watch?v=x7m5isq5q04 FADE IN: INT. TOM & MARGO'S COTTAGE - DAY Casey kisses Mo (before she leaves) and closes the door behind her. Tom comes down the stairs, undoing his tie and tossing it to the side. Casey: You sure you're fine? Tom: Do I look fine? (off Casey holding his hands up for mercy) Sorry. Casey: No problem but does this story even has any truth to it? I mean we haven't seen or heard from Uncle Scott since I was child. You sure Emily isn't fabricating this to p*ss you off? Tom: No she isn't. For once she isn't lying in that rag she calls a paper. Casey: (confused) So then I don't get while you're mad at Emily . . . Tom: Because she's ruining my campaign! Don't you see it! Casey: Dad, I doubt anyone is taking Emily or her paper seriously. Her past isn't squeaky clean either . . . Tom: But when you're running up against someone with a stellar track record such as Carter Wallace-- Casey: Dad, you need to chill. Casey goes and sits on the sofa. He pats on it to indicate he wants Tom to join him, to relax. After fighting it, Tom gives in. Casey: Dad, you have a stellar track record too. Tom: I do but-- Casey: Not "buts." Who cares that you left mid office almost fifteen years ago? That was then. This is now. Margo rushes in breathing heavily. Margo: Oh honey! There you are. (rushes over and kisses Tom) I went by the campaign office and Bonnie told me everything. (calming down) You OK? Tom: Not really. Margo: Don't worry, honey. We'll figure this out--me, you, Bonnie, Lisa-- Tom jumps up from the sofa Tom: Mom! I gotta go see her. Margo: We're coming with you. On a shot of the Hughes rushing out, CUT TO INT. BARBARA & HENRY (KITCHEN) Henry and Clark are now seated at a table. We enter mid-convo. Henry is trying to pry some info out of her. Clark: Henry, can you stop! Henry: No! You just come beating down my door and you want me to stop? Clark: Yes. Henry: We haven't heard from you in years! Maddie, me, Bernadette-- Clark: I'm fine. (swiping hair out of face) Can't you tell? Henry: Not really but I'll drop it for now . . . Clark: I just need a place to stay for a few nights-- Henry: What? Hold on--you just come in here and expect to provide you a haven when you can't tell me where the heck you've been for the past five years?! Really, Clark? On Clark moaning, CUT TO INT. MONA LISA Picking up where we left off of Lisa slapping Scott, and both he and Carter stunned: Scott: What was that for! Lisa: For not picking up the phone and calling me! For not visiting me! Your brother-- Scott: Oh I've seen ole' Tom already. Lisa: What? So you've been in town for awhile now! (to Carter) And you knew?! Carter searches for the right words, but before he can get them out, Lisa pops him in the face. Carter now holds his face, shocked. Lisa: Now I see why you were using me--getting close to me. You wanted to stick it to me and Tom. (pointing to Scott) And he's the best way to do so? Scott: He didn't even know I was related you to until the night I arrived in Oakdale. Lisa: Oh really? So how do you two know each other? Scott: We met awhile back in Somerset. I had a small practice there, he was there visiting-- Lisa: So you two became buddies and decided to come here and run for district attorney? Carter: No! I didn't even ask him to join me until weeks after I decided to come to Oakdale. Scott: Exactly. Lisa: (stewing) Oh OK . . . So Tom knew you were here? Scott: Yes. I've been here since Christmas. Lisa: What! Tom, Margo, & Casey come rushing in and up to Lisa, Carter, & Scott. Tom: Mom-- Lisa pops him across the face. Lisa: How could you! (to both of her boys) How could both of you! . . . (enraged, flailing around) How could all of you! Casey and Margo step back, not wanting to feel the wrath of Lisa. On Tom holding his face, now stunned too. FADE OUT http://www.youtube.com/watch?v=Ey9yuMLqe34&list=UUZ7KYSz-dyMkHcL2yYphqmw
  6. EP. 20 THE HOTTEST STORY TO HIT THE PRESSES

    INT. THE INTRUDER – DAY Open in Emily’s office. A tight shot on Emily as she stares down at some papers on her desk. She marks them with a red, and is gradually becomes displeased with what she’s reading. Emily: No . . . No . . . No! Emily slams her pen down on the desk. Emily: This is abysmal! Samantha knocks on the door and then peeks in. Sam: Everything all right? Emily: (hostile) No. Everything is not all right. (then) You know what, something is wrong—who green-lit this story on the district attorney’s election? Sam comes in and closes the door. Sam signals for Emily to hand her the document. Emily passes it to her. Sam skims over it. Sam: I don’t see what’s wrong with it. Emily: (rolling eyes) Of course you don’t. Sam: Why the attitude? I just asked you a simple question. Emily: Then let me answer it . . . the story is boring. Point blank. That’s not going to sell any papers or bring us hits on the site. Sam: But it’s the truth. Emily: And it’s boring. Let’s spice it up some. Put some scandal into it. Something! Sam sighs. Emily: What was that for? Sam: Emily, we’re supposed to writing stories that are true and have integrity. I don’t see any scandal in the Hughes v. Wallace race. I just don’t. Emily: Of course you don’t because you’re green. Now let me school you on how the media industry— Sam: School me? Honey, who has the degree in journalism? Emily: And your point is? Clearly you missed the class on how to sell a proper story. Sam: No I just chose to skip that class because I believe that a paper should be foregrounded with the truth. Not centering a story around smut and scandal, but if you had proper training in journalism— Emily: (raising up) Proper training? Honey, I’ve been running this paper for well over a decade. And pretty d*mn fine before you came waltzing in here taking over . . . You know what, ever since you’ve gotten this job, you think you run the place. Sam: Whatever. Sam tosses the document on the desk. Emily: So now what? You’re going to go call grandma and let her know that we’re at a standstill? Sam: Nope. Run it. Emily is stunned that she’s won this round. Emily: Did you just say— Sam: I said run it. Change it. Edit it. Do what you want. Just don’t be surprised with the backlash. Emily: Oh it wouldn’t be the first. Sam: I’m sure it won’t. Off Sam’s exit, Emily smiles, pleased with herself. She then reaches and grabs the phone and starts to dial. She then waits for a second, then: Emily: Gary, hey. I need you and the rest of the guys at the printer to be ready. This story I’m about to send will be the headline . . . Yes, I know it will be rushed but make it happen. I want this story out before noon . . . Thanks. Bye. Emily hangs up the phone. She then goes back to work, churning out a story. We get a glimpse at the marked document on her desk; however, our eyes are drawn to three names on it: Tom Hughes, Carter Wallace, and . . . Scott Eldridge. CUT TO INT. TOM’S CAMPAIGN OFFICE His volunteers are working the phones, doing flyers, etc., but we pan back towards Tom, who is with some of his team as they go over some strategies in the background. Tom sits back and takes in their suggestions, attentively. Volunteer1: So Mr. Hughes, we need you to be on point at the first debate. We don’t need a knockout for certain, but we need you on point. Volunteer2: Yes. This first debate just needs to be what you plan on achieving if you win, and you debunking the ideals that you’ll have another mid-life crisis during your term. Tom: Trust me. That won’t happen. Volunteer2: I hope not because there are a lot of people in this town that are still upset about the last time you were D. A. Bonnie (O.C.): That won’t be a problem now that I am here. Everyone turns to see Bonnie coming in. She makes her way up to Tom and gives him a hug. Bonnie pulls back and looks Tom straight in the eye. Bonnie: You ready to go to war? Tom nods. Tom: More than ever future Assistant District Attorney. On Bonnie and Tom sharing a smile filled with determination, FADE OUT http://www.youtube.com/watch?v=N2VgH3loFZs FADE IN: INT. TOM’S CAMPAIGN OFFICE We pick up where we left off—a determined smile between the two. Then Bonnie breaks away, reacting with the interest about their campaign office. She digs it. Bonnie: Good estate. Right in the center of town, near the police station and town hall . . . just perfect. Tom: That’s the reason why I chose this place . . . Putting that aside, when did you get back in town? Bonnie: Last night. Tom: How’s Duncan? Bonnie: Doing better. He has his off days due to the chemo but he doing so much better. Tom: Glad to hear that. I’m still stunned when Jessica called us with the diagnosis—that Duncan had stage two prostate cancer. Bonnie: Me too. But we’re taking it day by day. I think it also helps that Mom is over there taking care of him. Shannon stopped by to see him . . . Beatrice pops in and out to see him. Tom: I’m bet he’s enjoying that, being surrounded by all the women he loves. Just shows how tragedy can bring loved ones back together. Bonnie: Tell me about it . . . Now, who is this Carter Wallace? Off Tom rolling his eyes, CUT TO INT. MONA LISA – DAY We open up on Carter flirting with Lisa, as they share a drink at the bar. Carter: So glad that you decided to join me for a drink. Lisa: I’ve never been one who turns down libations . . . Lisa seductively strokes her glass. Lisa: . . . especially when the person offering them looks just as good as the wine tastes. Carter: Mrs. Grimaldi, you wouldn’t be hitting on me, would you? Lisa: And if I were? Carter: Then I say cheers. Carter picks up his glass and he and Lisa have a toast. Lisa takes a sip of her wine all while keeping her eye on Carter. She likes him. Carter: So, Mrs— Lisa: Call me Lisa. Carter: OK, then. Lisa, how are things at the fashion house? Lisa: A mess. However, that is expected in fashion. Carter: I see . . . so when am I going to be invited there to see your fashions. Lisa: (modest) Carter, must you forget that you’re the enemy. I can’t take you around time showcasing you. I’d never hear the end of it from Tom. Carter takes Lisa’s into his and stares into her eyes. Carter: But just because Tom and I are at war does not mean we have to be. Lisa: (grinning) True . . . Carter: Plus, how will I know if you’re good enough to design my suit once I win the election. Lisa jokingly slaps Carter on the arm. Lisa: Very funny! You doubt my boy, but you forget that he has a bit of me in him. Carter: Well I hope it’s not your sexiness because I don’t nor will ever look at Tom like that. Lisa: I hope not . . . But resilience, resilience is what he inherited from me. He won’t lie down and take a beating easily. Carter: And I don’t expect him too. Carter’s phone interrupts him. Carter: Excuse me, Lisa. Carter turns away from her and answer it. Lisa waits patiently. Carter: Hello? . . . So they know? . . . (sighs) That’s fine. Better now that it comes out then later . . . All right. I’ll talk to you later. Bye, bye. Carter hangs up and turns back Lisa. Lisa: Now that, that is over . . . Lisa’s is preoccupied by something. Her glass drops out of her hand and shatters on the ground. Carter: Lisa, what’s— He follows where she is look at the other end of the restaurant is Scott. A waiter points him into the direction of Lisa and Carter. He tips the waiter and advances towards them. Lisa: . . . Scott?! Scott plants a kiss on the cheek and hugs her. Scott: Hey, Mom . . . Carter. Lisa looks at Carter. Lisa: You know my son? Scott: Of course he does. Meet Oakdale’s future Assistant D.A. and Carter’s running mate. On Lisa at a loss for words (for once), CUT TO INT. TOM’S CAMPAIGN OFFICE Bonnie and Tom are now in an adjacent office shut off from everyone else. Continuing where we left off with them. Tom: He’s some flashy attorney from Monticello. Bonnie: OK . . . so why is he running for D. A. here? Trust me, the crime rates are extremely high in Monticello. His expertise is needed there more than here. Tom: I said the same thing. Bonnie: But again, it doesn’t make sense. Why here? Monticello, Chicago, Somerset, Springfield, Bay City, and Salem—those areas should provide wet dreams for anyone running for D. A. Tom: I’m guessing the mayor. What’ve I’ve heard is that the two became golf buddies a few years back at the Governor’s charity golf tournament in Henderson. Bonnie: Did he try to run there too? Tom: (laughs) No. (stoic, but nervous) But I have been looking into his history and he has a stellar track record for his time in Monticello. Bonnie: How stellar? Tom: Way better than his predecessor, Mike Karr, and he was one h*ll of D. A. A Volunteer peeks their head into the office. Volunteer #3: Mr. Hughes, we need you out in the main room fast. Something has come up. Tom: (concerned) OK. Bonnie and Tom exchange looks. They both then rush out into the main room where everyone is surrounding a computer and holding paper newspapers in their hands. Bonnie: What is it? Another Volunteer hands Bonnie a newspaper. Volunteer #4: Take a look. A close-up shot of The Intruder, and the headline reads, “Brother V. Brother: Battle Lines Drawn.” There is a shot of Tom on one side and Carter and Scott on the other. Bonnie: You’re brother? Tom snatches the paper from Bonnie and flings it across the room. Tom: D*mmit, Emily! Bonnie: But what damage can it do? Everyone has probably known that Scott’s been back in town, right? Tom: No. Bonnie: Tom! Tom: I know, I know. I was hoping to convince him drop out the race before they made a public announcement or it went out to the presses, but I’m not surprised that big mouth Emily found out before everyone else. (paces the floor) But I can fix this, I can fix this. Volunteer #5: (at computer) I wouldn’t say that just yet. Volunteer #5 slides aside to show the same story online. Tom: She put it online too! Bonnie: Tom, that’s not the point. Look! Bonnie points to the side of the screen where Emily has a Twitter box embedded on the site, and it shows a feed of all the other newspapers across Illinois linking to her story. Bonnie: Sh*t just got real. Tom: F*ck! Tom flips a chair over before calming down. Tom: I’m going to kill her. On Tom enraged, FADE OUT http://www.youtube.com/watch?v=hR1jFxeam4s
  7. For Immediate Release: WEB SERIES “OUR WORLD”WELCOMES FORMER “ATWT” WRITER TO TEAM New York, NY- Internet soap opera OUR WORLD proudly announces the addition of Cheryl L. Davis to its writing team. Davis received the 2009 Writers’ Guild Award for her work as a writer for the daytime dramatic serial “As the World Turns”, and was nominated for a Daytime Emmy Award® for her work on that show as well. A BMI/Lehman Engel Musical Theatre Workshop alum and former Dramatists Guild Fellow, Davis’ theatrical work has been read and performed internationally, including at the Cleveland Play House, the Actors Theatre of Louisville, and the Kennedy Center. She received Kleban and Jonathan Larson Performing Arts Foundation Awards for her work as a librettist, and her play Winnie the Pooh KIDS will be licensed by the Disney Theatrical Group later this year. Billed as “Radio Drama 2.0”, OUR WORLD is a dramatic serial airing daily across multiple media platforms. Presented through a unique integration of audio, illustration and animation, this multi-generational show chronicles the scandalous tale of wealthy teenagers and their families in Oakhurst, an exclusive New England enclave. For more information, visit: http://www.OurWorldDrama.com http://www.facebook.com/OurWorldDrama http://www.twitter.com/OurWorldDrama #OurWorldDrama ###
  8. As a NYCer, this makes me feel wistful: NYC's soap bubble bursts As ‘One Life to Live’ goes off the air, an era ends for Gotham’s most over-the-top storytellers By STEFANIE COHEN and SARA STEWART Last Updated: 10:15 AM, January 8, 2012 Posted: 9:23 PM, January 7, 2012 When shooting ran late on the Manhattan set of “Guiding Light,” some of its stars’ moods began, counterintuitively, to improve. “We had one actor who had a bar in his dressing room,” explains Kim Zimmer, who played one half of the show’s “supercouple,” Josh and Reva, for more than two decades. Behind closed doors, actor Grant Aleksander would whip up margaritas for his co-stars, complete with fresh-squeezed lime and, if you had time, a salt-rimmed glass. “We called it Chez Phillippe,” says Zimmer — after Aleksander’s character, Phillip Spaulding. “It was on another floor, tucked in a back hallway. Grant made really good margaritas, and you could put it in a Styrofoam coffee cup and take it back up to the set. Everything gets funny when you’re punch-drunk — or real drunk, on top of that! “We weren’t fooling anyone,” adds Zimmer. “They all knew we were visiting Chez Phillippe.” The backstage soap-opera speakeasy is just one of the mass casualties in the death of New York’s daytime drama empire. When ABC’s “One Life To Live” airs its final, inevitably tearful episode on Friday, an era will end for NYC-based TV soaps, which date all the way back to 1950’s “The First Hundred Years,” CBS’s first ongoing serial daytime drama about two couples who were next door neighbors. Sixty-two years later, following the recent cancellations of its local brethren — “All My Children,” “Guiding Light” and “As the World Turns” —“OLTL” is the last show standing in what used to be one of the city’s most thriving entertainment industries. On 66th Street between Central Park West and the Hudson River, ABC’s “OLTL” and “All My Children” were shot, while CBS’s “Guiding Light” and “As the World Turns” were filmed on 57th Street near the Hudson. (“Another World” was shot in Brooklyn until its cancellation in 1999, and the soap “Loving” taped in Manhattan from 1983-1995.) New York soaps, which were at the height of their cultural import in the ’70s and ’80s, spawned countless well-known actors. Among the faces you can find on old YouTube clips are Brad Pitt (“Another World”), Julianne Moore and Meg Ryan (“As the World Turns”), Tommy Lee Jones and Laurence Fishburne (“OLTL”) and Hayden Panettiere (on both “OLTL” and “Guiding Light”). In their heyday, soap characters were household names, and the actors who played them — such as Susan Lucci of “All My Children” or Erika Slezak, who played the psychologically damaged heroine of “One Life to Live” — were TV royalty. Soaps even got a shout-out from the mayor, recalls Robert Woods, who’s been playing Bo Buchanan on “OLTL” since 1979. “One year, Rudy Giuliani talked about how valuable these shows were to New York,” recalls Woods, “how proud he was to have them produced here.” Today, the decline of the soaps is indicative of a larger trend, in which the travails of scripted characters are being replaced by the real-life antics of people too cartoonish to be fictional — the Kardashians, the Snookis, the Charlie Sheens. Daytime dramas have been slashed to make room for “how to” shows — “OTLT” will be replaced by “The Revolution,” a weight-loss show (which will follow, oddly, a cooking show, “The Chew,” which replaced “All My Children” last fall). Still, none of them can touch the sheer volume of human folly on display in the soaps, played out to the hilt of melodrama five days a week. “I’ve had babies stolen, I’ve been shot, I’ve shot people, I’ve had about eight marriages and three miscarriages,” says “OLTL” star Kassie DePaiva, who has played heroine Blair Cramer for 17 years. “We had a public execution of my fake husband — stopped at the last minute.” And, obviously, “I’ve slept with tons of really good-looking men.” All that sex, murder, betrayal, espousal and hospitalization has been the bread and butter of a tight-knit community of actors, writers, producers and crew who worked tirelessly to churn out escapist fantasies for a devoted audience. “The beauty of soaps,” says DePaiva, “is that it takes a village to make it work, and you get to work with really hardworking people.” “I feel so lucky to have been part of the daytime community in New York,” says Susan Lucci, who famously played arch-villain Erica Kane on “AMC” for four decades. “We were all collaborating to make the best show possible, five days a week.” Many actors fondly recall dedicated production crews, the unseen backbone of the operation. “They were the most gracious people I have ever met in my life,” says Jordan Clarke, who played Billy Lewis on “Guiding Light” from 1982 to 2009. “I got to work with some great old-timers. One cameraman named Johnny Paola was a silver-haired gentleman who always wore a suit and tie. And I remember the first time I walked on set, a prop man named Billy Sharkowski walked over and said, ‘Hey, Clarke. What kind of cigarettes do you smoke?’ Then he had a carton on set at all times. “Also,” Clarke recalls, “back in the old days there were huge cables attached to the cameras, and they had three guys on each cable. During the commercial [breaks], 30 or 60 seconds, there was this very intricate choreography to move the camera and the cable to the next scene in a way where it didn’t get tangled!” Lucci remembers the group effort that went into shooting one of her trademark over-the-top scenes. “My co-star David Canary and I once had what amounted to a 13-page food fight in a hotel room,” she says. “It was highly choreographed by the fight coordinator. So not only did David and I stay through our lunch to go over the choreography, but so did the crew. The whole thing had to be done in one take, because it ended with my smushing grapes over David’s head. We ended up shooting it at nine at night, and we got it done in one take. It was so collaborative, and so much fun!” When they did get to leave the building, the actors still stuck together, and close by, says Hillary B. Smith, who has played Nora Buchanan on “OLTL” since 1992. “We used to go to Santa Fe’s [bar] on 68th Street and hang out there,” she says. “We’d run lines and prepare for the next day.” And the next day — every day — meant a rigorous routine of memorization, preparation and performance. “7 a.m., script memorized,” says DePaiva. “You do a quick rehearsal with the director from 7 to 9:30 a.m. And then taping. You can be done at noon or nine at night, depending on where your scenes are.” The atmosphere on set may have been bustling and fast-paced, but rarely was it overly serious. “There’s not a time that goes by that you won’t hear gales of laughter from the crew, from everyone,” says Woods. A fan of pranks, he says he particularly liked to mess with actor Phil Carey, who played his father. “I would use black thread from wardrobe — you can’t see it on camera — and I’d tie it to a phone. If the phone rang, it would just float up out of its cradle. Or if someone had to pick something up you could pull it away from them when they’d reach for it. Or I’d drop a rubber chicken into the scene.” Vincent Irizarry, a veteran soap actor who has worked on “GL,” “OLTL” and most recently “AMC” as uber-bad guy Dr. David Hayward, says his habit of working through lunch has been the source of cracking up a set on more than one occasion. “There was a wedding taking place, a big production, and I was sitting in the front row. I remember Kelly Ripa was up there and they’re saying their vows, and my stomach makes this sound like I was starving! It growled right in the middle of the vows, you could hear it on the boom. They go ‘Cut!’ and Kelly turns around and goes, ‘Oh my god! Are you kidding me?’ ” As lighthearted as the atmosphere on set tended to be, soaps were on the cutting edge of introducing serious social issues over the years. “It’s not all evil twins and separated at birth,” says “OLTL” head writer Ron Carlivati. “At the same time as we have evil twins, we also try to tell stories that are relatable to our audience.” For example, he says, the show recently ran a story line about bullying, a topic ripped from the headlines. Judith Light, who went on to prime-time fame in the ’80s sitcom “Who’s the Boss?” had a star-making turn on “One Life To Live” in 1979 as a housewife moonlighting as a prostitute. In her climactic courtroom scene — which would win her an Emmy — Light’s character broke down on the stand and confessed all. It was a must-watch moment, but even Light was shocked at the sincere outpouring of emotion she got from fans. “I received so many letters from prostitutes who said, ‘I so desperately want to get out of the life, I want to be as brave as you were.’ ” “Agnes Nixon [creator of ‘AMC’ and ‘OLTL’] was certainly at the forefront of breaking down barriers,” Lucci says. “Gender and race, and every way I can think of. ‘OLTL’ had the first story line around an African-American multigenerational family; it was so well-received. On ‘AMC,’ Erica had the first legal abortion, that was very groundbreaking. They had a gay story line [featuring teen star Ryan Phillippe].” Carlivati, who’s taken the “OLTL” characters to many odd and improbable places, including heaven, says the secret to a successful story line is knowing the character as well as the fans (who will hold you accountable) do. “As long as you write the characters true to who they are, you can send Viki [slezak’s longtime character] to Mars,” he says. “As long as she has the appropriate reaction.” “[The role] was a hell of a lot of fun,” says Slezak, who won six Daytime Emmys over the years. “I loved when Viki cut loose and acted as the host of the [different] personalities.” New York soaps afforded actors like Slezak and Woods the unusual opportunity to play the same role for decades in what amounted to a reliable, high-profile profession. “It was a sustainable, valuable job for many actors in Manhattan,” says DePaiva. “Some wonderful theater performers would work [on soaps] during the day and moonlight on Broadway at night.” “The reason it was so wonderful for actors in New York,” says Smith, “was that we were here for theater, which we did for the passion, for our art. And daytime was the closest thing to theater on TV.” Plus, she says, “it was a way to pay the bills. It was a great way to have a steady job in an industry without steady jobs.” Soap stars have watched the decline of the daytime drama since the ’80s. “I saw a chart showing the revenue, and it looked like a plane diving to the ground,” says Clarke, who is one of the rare actors making the transition to the Internet; he currently stars in the online soap “Venice,” as does Smith. “I never thought it would happen,” says Woods. “To think that there wouldn’t be soap operas produced in New York! I always thought there would be the serial format on ABC, as long as there was an ABC.” “It leaves a huge hole in daytime TV and in the days of our fans,” says Slezak. “ABC tells us the audience doesn’t want entertainment anymore; that they only want information. I don’t buy that. I want something that will make me laugh, make me cry.” Read more: http://www.nypost.co...M#ixzz1iuIFUEiR