DRW50

http://www.youtube.com/watch?v=eTX4_Nt-U8k&feature=mfu_in_order&list=UL http://www.youtube.com/watch?v=Zw4ja0D62OA&feature=mfu_in_order&list=UL

Belated Thanksgiving wishes to everyone.

That sounds interesting. I wonder if there was any change or drop in quality as she got more tired.

She did look very nice. I guess these clips have made the rounds in various different sets (I know some were used on the show in flashbacks) but I'd never seen the ones with Susan Flannery before, so I'll post in case anyone else is in the same boat.

I just watched the episode where the commissioner tells Calvin that Bill Marceau, who had gone on vacation, had taken his 30 year retirement before going on vacation. I have a few questions. #1 Was Beverlee McKinsey an EON fan? #2 Did Mandel Kramer know he was being written out when he filmed the last scene with Steve (he gave Steve his badge back)? #3 Why couldn't they bring Kramer back just for one last scene with his colleagues and friends? It's kind of sad he never had a goodbye scene.

Thank you for sharing these. It reminds me of when I first went to WOST, a long time ago, when I had dial-up, and I'd wait just to hear these themes of shows I never knew existed. The Doctors was one of them.

I was reading an article from when Charles Van Eman joined as Charlie. They said he was brought on for a romance with Lainie. Did that happen? A TVRM from July 1973 (which would mean this happened a month or two earlier) said Richard Hatch had returned as Phillip for five shows. What did this entail?

Ratings for the two weeks ended Nov. 25, 1973. 10.1 AW - 33% 9.8 AMC - 34% 9.7 ATWT - 33% 9.1 GL - 29% 8.8 Doctors - 29% 8.7 Edge of Night 29% 8.2 GH 28% 7.7 Search 28% 7.1 RTPP 24%

My favorite Fiona work was in the baby switch story, especially after she went to prison, went on TV begging for the baby to be brought back, the trial.

Did her grandmother ever show up again? Wasn't that her grandmother? It's too bad we never got to see Julia with Dante.

would have considered a terrible night's sleep - a grant total of four-and-a-half frequently interrupted hours. But I feel perfectly fine. At the beginning, I used to try and nap during the day when he did, but now I find it's not necessary and I'd rather use that time to catch up on chores around the house, or do some reading. "I'm also surprised at how fast he changes. I can't believe how quickly he grows out of his clothes, and each day I notice he becomes more and more alert. Each day he focuses more intently on things which interest him, and his attention span is longer. That makes things easier for me because he can entertain himself over longer periods of time. He can lie in his crib now and stare at the mobile suspended over it for an hour at a time. The other night he even stayed up and watched TV with us. Of course, sometimes he gets fussy and doesn't know what he wants. All babies get in those moods. You try giving them a drink, and they're not thirsty; you try feeding them, and they're not hungry; you try bouncing them up and down in your lap, and they're still unhappy. You feel so bad for them, but there's nothing you can do. I'm convinced when babies get like that, their problem is boredom. In fact, I'm sure a baby's number one problem is boredom. I don't think adults stop and realize how frustrating it must be for an infant, not being able to walk or talk. I can't wait until John Stuart starts talking. Then he'll be able to tell me if he thinks I'm doing a good job or not!" Fran's please to report Roger is doing a great job of fathering. This does not surprise her. "There are some men you just know will make terrific fathers, and I knew Roger was one of them," she points out. "At night, he's the one who invariably hears the baby first. While I'm still trying to pry my eyes open, Roger's already in the baby's room changing his diaper. He's a tremendous help. We have a wonderful nurse, Monica Gittens, in five days a week who's like a member of the family. I can go off to work feeling completely at ease knowing John Stuart's in her care. But Roger is also around a lot lately because he's been concentrating on writing these days, and he pitches right in. I don't know what I'd do without him as far as the cooking and cleaning goes. We've always split the cleaning chores and still do, but he's literally done all the cooking since the baby arrived. Luckily, he happens to enjoy cooking and is good at it." Fran hates to admit it, but she also wasn't surprised to have some getting back in shape to do. "You don't have to make such problems for yourself," she insists. "If you don't gain more than a certain amount of weight, you'll find yourself pretty much the way you started out before you got pregnant. But it's very difficult. First of all, you really do get strange cravings. I went crazy over starches. Lettuce and other healthy things disgusted me. There were moments when all I wanted was a piece of bread. Ordinariiy I have no trouble avoiding starches. Secondly, you're not as active as you usually are. I always bicycled everywhere, including down to the studio on 26th Street from my apartment near Lincoln Center. Now that's quite a work-out. All that riding around always kept me in shape, even with occasional concessions to my sweet tooth. But I think the main reason women gain too much weight during their pregnancies is because there's not much motivation to watch yourself when you figure you're gonna get fat anyway for a while. You're wearing stretch pants anyway, so it's not like you have to worry about outgrowing your wardrobe, right? I've lost five pounds already, and I've got five more to go before I look and feel myself again. I can't wait - it's awful being out of shape." Fran's fans will be please to know she has no intention of retiring form show business and being a full-time mommy - for now, at least. "You know what they say about a happy mother makes for happy children. Well, I believe that's certainly true," says Fran. "There's no point in staying home if you're just going to be miserable and take it out on your kids. But every situation has to be considered on an individual basis. I'll just play things by ear and see how it goes. As of now, things are working out fine. Who knows, though - I might just decide John Stuart is so much fun to be around. I'll take a year or two off when he's a bit older. I can't really imagine ever being bored around such a fascinating little person." - by LINDA ROSENBAUM

there was Sam Reynolds - played by dear Bobby Mandan. But Sam didn't come on the show as a love interest. It just sort of happened, because we liked working together so much and the audience liked the teaming, too. We had a ball. It was a lovely five years. Then Bobby wanted to go to California. He liked living out there and the different kind of work. "The writers kept putting obstacles in the way of Sam and Jo's marriage," Miss Stuart laughed. "But the main obstacle was that Bobby wanted to move to California. And then, of course, he did Applause on Broadway and left for the coast. We were always so sure he'd come back - but we were wrong. On the show, Sam was supposedly killed in a plane crash. "Then Dr. Tony Vincente - our Tony George - came in." Had a romance between him and Jo been planned from the beginning? "I don't think they were sure. That is, until we got to know Tony very well. Playing opposite an actor - well, it's like a real relationship. It's that thing about 'chemistry.' "Sam (reincarnated by Roy Shuman) was brought back as a survivor of that plane crash - but now mentally unbalanced. The story line had been abruptly changed. Jo had always been supposed to marry Sam. But we'd all agreed: 'That's ridiculous. It just has to be Tony!' So Sam was killed off, and that paved the way for Jo and Tony to get married." Val Dufour, who played the dear, departed Walter Curtin on NBC's Another World for seven years joined the Search company last November, and found himself playing another lawyer - namely John Wyatt. He introduced us to three Search players: John Cunningham (Dr. Wade Collins), Courtney Sherman (Kathy Phillips), and Peter (Scott Phillips). Simon had something of a splash on the off-Broadway scene with his Harold Pinter-like play, In Case of Accident. We asked if he was at work on a new play. "No," was his terse reply. "Yes, he is," came the more open John Cunningham. "But he refuses to divulge the details to any of us." The beautiful Miss Sherman and her husband, actor-writer Ed Easton, live in a lovely apartment in a crumbling tenement in a colorful West Side section of Manhattan called "Hell's Kitchen." They were in the midst of a court battle with the landlord. While John Cunningham was appearing on Another World (as Dr. Dan Shearer), he also doubled in the Broadway musical theater at night. We asked the singing actor if he had plans to do any further moonlighting. "I'm looking," John admitted. "I was just prevented from doing one because I was too busy on the show." Outside the studio where Search is taped daily, we chatted briefly with Gary Tomlin, who plays Bruce, Tony and Jo's teenage ward. A native of Indianapolis, Ind., Gary told us: "I quit the University of Indiana after a year-and-a-half and came to New York to study at the American Academy of Dramatic Arts." He smiled. "Where else? My first professional job was a Coca-Cola commercial. I played Vivian Vance's son in a short-lived Broadway comedy called My Daughter, Your Son. And I've played the blind son opposite actresses like Maureen O'Sullivan, Sylvia Sidney, and Jan Sterling in Butterflies Are Free. Right now, I'm the standby for the roles of the two sons in Jean Kerr's new Broadway play, Finishing Touches. I'd done some one-day work on the soaps, but this part on Search is my first continuing role and I'm enjoying it." We also asked Billie Lou Watt, the gracious lady who plays Ellie Harper, what was new. "Well, my husband (actor Hal Studer) and I have joined a workshop group connected with the National Academy of Television Arts and Sciences, and we're busy rehearsing a production of Chekhov's The Anniversary. You've gotta brush up on your stagecraft, y'know." We couldn't help saying that we hoped a romance was blossoming between her character and Stu Bergman (played by A. Larry Haines). But soap actors are just as much in the dark as the audience as to what's going to happen next. "I really don't know," Billie Lou admitted. "Nothing's been mentioned to us." Dino Narrizano (Dr. Len Whiting), who was recently written out of the soap, is featured in a new Broadway play. And another former member of the cast, Leigh Lassen (Patti Whiting) has opened a fun fur shop located near her home in Nyack, N.Y. Millee Taggart (Janet Walton Collins) said she and her husband, Barry Kurtz, and their two children were not sorry they gave up their New York apartment and moved to a house in Harrison, N.Y. "Fresh air and green grass, that's where it's at," she exclaimed, beaming. Ray Bellaran, who plays Tom Walton, is a young veteran of TV commercials. Ray, along with his two sisters, made his Broadway debut singing and dancing in the Shirley Booth musical, Look to the Lilies. The New Jersey-born actor commutes from the suburbs with his mother when he's on the show, which is his first soap. The other son, Gary, is played by Tommy Norden. TV fans will remember him as one of Flipper's human pals. But Tommy started his career as a model, and appeared in hundreds of commercials. He was the first child to sing solo on TV's Sing Along With Mitch. We watched Kathy Beller, the pretty young miss who plays Liza Walton, and W.K. Stratton (Randy) run through their lines. We asked Kathy how she had gotten into the business: "Well, one day I walked into my parents' room and announced: 'I'm going to be an actress.' I was 14 at the time - and they just laughed. But I called a photographer, who was a friend of ours, and had some pictures taken. Then I made a tour of the agents' offices. I finally landed a commercial, did some more, and then summer stock. This is my first soap." She rolled her big, expressive eyes. "This is hard work, very hard work." W.K. Stratton, who hails from Fort Royal, Va., told us the familiar actor's story. "I came here to train at the American Academy of Dramatic Arts and then did summer and winter stock and Shakespeare in the Park." Portraying an intern named Dr. Matt Weldon is the highly personable Robert Phelps. Asked for some biographical facts, he said: "Well, I was born in Bethelem, Pa., but my adopted home is San Francisco - that's where my heart belongs. I went to schools all over the country - and through a rough period of trying to find myself. I did a lot of movie work. Search is my first daytime TV show." With one of the largest casts on daytime television, not all the actors on Search are on call on a daily basis. A lot depends on how "heavy" their particular story line is at the moment. We did not talk with Joan Copeland (Andrea Whiting) who was off on vacation, Ken Harvey (Doug Martin), or Carl Low (Dr. Rogers), who were enjoying respites at their country homes in New Canaan, Conn. and Nyack, N.Y., respectively. On the magazine office set, wet met actress-equestrienne Ann Williams (Eunice Martin), who was immersed in a card game with a member of the TV crew. How were her horses? "Fine," she smiled, looking up momentarily. "I rode for two-and-a-half hours yesterday and I can hardly walk." Friendly Andrew Jarkowsky (Frank) has gone right from his role of lawyer Mark Venable on Another World to the new part of an associate magazine editor on Search. "I don't expect this to be a long-term role," he admitted. "Soap acting is grueling work. I'm planning to take a long rest when this job is over. I'm definitely going to tour India and then I'd love to come back and motor across our country. That's been a dream of mine." Over the years Search has cast many well-known actors in important parts for the show - George Maharis, Don Knotts, Tom Ewell. But nothing was as significant as Linda Bove in the key role of Melissa. Explained producer Edwards: "When we decided to do a story about a deaf girl, our writers did a thorough job of research. They met with David Hayes of the National Theater of the Deaf. After that, we felt that the best performance would be given by an actress who was actually deaf. And Linda Bove is certainly one of the company's most gifted members." There's a new family in the town of Henderson: Terry and Jay Benjamin (James Hainesworth) and Jay's brother, James (Joe Morton). The dynamic Joe is currently moonlighting as Valentine in the rock musical Two Gentleman of Verona. Both Broadway and Los Angeles audiences have seen him in productions of Hair. The singer-actor also appeared in the off-Broadway hit Salvation. Joe directed the original American touring company of Jesus Christ Superstar, in which he also played Pontius Pilate. James is the personification of versatility. Born in Newport News, Va., he studied set decoration, theatrical workshop, and directing at the Hampton Institute. Later, James taught acting, set construction, and lighting. After a stint with the Green Ram Theatre in Wisconsin, he came to New York and was immediately engaged as the assistant set designer for the successful off-Broadway production of Oedipus. He later took over the title role. He had major roles in films like Shaft, The Hot Rock and Speed is of the Essence. Jim is also an amateur boxer. Lovely Camille Yarborough (Terry) was born in Chicago, Ill., and began her career as a danger-singer with the Katherine Dunham troupe. She appeared in Lorraine Hanbserry's To Be Young, Gifted and Black and wrote an article about the experience for the New York Sunday Times. "I'm mainly interested in being a writer," Camille confessed. "I want to write plays and songs, both the lyrics and the music. I write poetry too. I've been giving readings at various colleges on the weekends." Camille, who was also seen on stage in Sambo and Trumpets of the Lord and in the movie Shaft, played Miss Butterfield, a nurse, on the now-defunct Where the Heart Is. - David Johnson

turned up a happy and contented 30-year old woman who's obviously in possession of inner peace. Alberta attributes this very enviable inner peace - at least partially - to the balance she has always maintained between her career and her personal life. Although her life story would perhaps read more dramatically if a tremendous inner struggle were involved in achieving this balance, hardly a smidgen of that kind of get-ahead-at-any-cost drive so common in actresses can be found in Alberta. Says she very undramatically: "Acting is how I earn my living. I happen to love to act, but it's a joblike any other job. I don't need ti to feed my ego. "I've always felt that there is something about this profession which is incompatible with my needs as a woman. I've always been apprehensive about that. Fighting to get ahead in this field would seem to me to involve fighting against some of my other needs. I'm not saying the acing profession is easy on a man, but I think it's particularly hard on women. I believe our needs are different. "But I would be too specific if I just pointed to my need for loving relationships and the time and energy to nurture them to explain my lack of zeal in looking for work. I simply have a need for a very full life. If I didn't feel that way, I'd be planning to spend my entire summer vacation during stock, rather than spending most of the time loafing out at the beach house I just rented on Long Island. But enjoying that house is just as important to me as anything I could do to further my career. Therefore, I'll probably do stock for a couple of weeks and then head out to the beach." Alberta's career really began when she was 5. Her mother, a somewhat frustrated housewife who yearned for a career as a dancer, enrolled the little girl in ballet school. Before too long Alberta showed so much promise - though not much enthusiasm ("I took lessons because I was told to take lessons. At such a young age one doesn't choose to study ballet.") - that it was time to switch from the local ballet school in her home town of Elizabeth, New Jersey, to the prestigious School of American Ballet across the bridge in Manhattan. By the age of ten she was starring as Clara in the New York City Ballet's production of The Nutcracker. "I was living in two completely different worlds and feeling not completely comfortable in either," Alberta remembers. "Back home in Elizabeth I felt different from all the other kids and experienced a great sense of alienation. And of course, there were always two conflicting forces at work - to practice or to play. To practice meant further alienating myself from the kids, but to play meant not meeting the challenge of my career; by the time I was ten I'd become very wrapped up in it, although probably due to all the attention and publicity." Failure at 12? Albert's ballet career came to a rather abrupt halt when she turned 12 and was deemed too old to portray Clara. Suddenly no flashbulbs were popping and no pint-sized ballet fans were running after Alberta with autograph books in hand. At the tender age of 12 she was all washed up, a has-been - or at least that's how she felt. "To be a failure at 12 is quite devastating, and that's exactly the way I regarded myself," Alberta recalls. "Looking back on that time of my life, I can understand only too well why most child actors had it so difficult once they found they were no longer cute little kids." Instead of grabbing this golden opportunity to blend into a more ordinary tableau, Alberta continued her ballet studies, eventually enrolled at New York's Professional Children's School, and waited for the day when the applause would start again. A performer for almost as long as she could remember, Alberta could not imagine a life as anything else. But there's also no denying that she'd come to love the sound of applause - and perhaps to need it, as well. When faced with the choice of leaving for college or going on tour with the national company of Bye Bye Birdie, Alberta chose the latter. She's been acting ever since and for the last six years has played Liz on The Edge of Night. Alberta's journey into herself on her 30th birthday revealed a woman who had not only found the right balance between career and personal life, but a person who had learned one of life's most important lessons - adjusting to being alone. Married at 18 and divorced at 24, Alberta had gone from the family nest into the secure arms of a husband, and in so doing never quite discovered her own inner resources. "I had to learn how to create a home within myself in order to be truly happy and at peace," says Alberta. "The marriage ultimately didn't work out because we literally grew up together and discovered six years after the marriage that we were no longer the people we'd married. It was a lovely marriage for as long as it lasted, and when it ended I cold not imagine being really happy if I were not married. Thanks to a couple of years of psychotherapy, however, that's changed now. "I've grown so much since my divorce. And ironically, the more I grow as an individual capable of standing on my own two feet and feeling good about it, the better suited I am to having a healthy, loving relationship with another person. What I'm saying is simply that old cliche that one has to love oneself before one can truly love another. I can honestly say that for the first time in my life, I can be happy alone. Although I acknowledge that it's always nicer not to be, my attitude is that if it happens - it happens. I'm not manic about searching for someone who can offer me marriage. At the moment I'm going with somebody, an actor, whom I've been seeing for six months. We just take the relationship day by day. I'm not at all claustrophobic about the institution of marriage, but on the other hand, I no longer feel i must have the security it represents in order to survive." - LINDA ROSENBAUM

July 1973 TV Radio Mirror

July 1973 Radio TV Mirror

October 1976 TV Mirror.

I loved the Bad Boys montage. Charlie Brooks will be on the Strictly Come Dancing Christmas special. http://www.bbc.co.uk/news/entertainment-arts-15853992

the mid-'30s. The Mount Vernon, New York, young man had been studying at the Westchester branch of the City College of New York when he was offered a dramatic scholarship. "That started me thinking," Larry recalls, "that if I was good enough to get a scholarship, I might as well try my luck in the business right away, instead of trying in school. "I started working at a small station in New York, WWRL," Haines relates, a nostalgic smile brightening his eyes. "It was a pretty heavy schedule for me in those days. I worked seven days a week, starting at ten and going on past midnight. But I loved it, and I learned what the medium was all about. I auditioned for everything - and if you asked me for the number of shows I eventually did, I'd have to say something like 15,000! I was on all the old shows - Gangbusters, The FBI, Peace and War, Inner Sanctum. I had a running part as Lefty Higgins in Rosemary for a couple of years, and I played Lew Archer on The Second Mrs. Burton for something like four years. I still love radio," Larry said softly, "and I do some CBS radio mysteries now, which are heard here in New York on WOR radio." I wondered what made the kind actor so fond of a medium most actors have virtually abandoned to musicians in these past years. "I love radio because it allows the audience to paint its own sets," Haines replied thoughtfully. "The audience can create their own sets and their own characters in their minds. It makes more of a demand on listeners' imaginations." While Larry munched his luncheon sandwich and chatted about his affection for radio, it occurred to me that it must have been difficult for him to make the switch to television. "It certainly was!" he said with emphasis. "I had a great deal of qualms! I had worked in radio for about fifteen years, and was used to that. "Also, television was a completely new medium back then...that was about twenty-seven years ago. Things were a lot more hectic in those days. The equipment wasn't as good as it today and there was a lot of attention on the set because it was all live - we didn't have any tape. Things were always going wrong - ladders would fall down, people would miss cues, all sorts of things. But it was a challenge, and I took it. In fact, I was on television's first soap opera, called The First Hundred Years." I interrupted Larry to ask about some of the funny things that had happened on the set in those years, back in the time before the technicians and their machines could wipe out any inadvertently humorous mishaps. It was a question that Larry warmed to immediately; his sense of humor is avid and joyful. "There were two incidents on Search that I remember in particular," he grinned, "although there must have been lots of them, as I've always been the clown on the set, trying to make everyone laugh. And, since I do have a sense of humor, the crew and the cast would always pick me to pull pranks on. "One time, I was doing a scene with Melba Rae, who played my wife, Marge, for so many years. The scene involved my coming home from work very hot and tired, and Marge soothing me and making me comfortable by offering to get me my slippers. When we rehearsed the scene, everything went fine. Then, when we were on the air, Melba went to get my slippers, but when I tried to put them on, I found that they were stuffed with newspapers. I couldn't get my feet into them at all!" Gulping back my appreciative laughter, I managed to ask Larry what in the world he did to redeem his dignity in the scene. "I just ad-libbed around it," he chuckled, sounding like the pro he is. "I said something like, 'Marge, how many times have I told you to keep the kids from fooling around in my closet!'" Larry's small, brightly lit dressing room was now resounding with our combined laughter. I urged him to tell me about the second funny incident he remembered. "Well, there was the time on Search when I was supposed to come by and take Jo (Mary Stuart) to the airport. When we prepared that scene, she was supposed to come down the stairs of her living room. I would pick up her two valises, which were lying at the foot of the stairs on the set, and we'd set off for the airport. When we played the scene in front of the cameras, it all went well. Mary didn't trip on the stairs coming down and I didn't forget my lines. Everything seemed like it was going perfectly. Then I leaned over to pick p the valises...and almost fell over backwards! They had been loaded with sandbags! I couldn't budge them!" "What on earth did you say that time, Larry?" I asked. The actor smiled and repeated calmly, "I just said said, as if I were kidding around with my good friend, Jo, 'Honey, what in the world are you taking with you?'" It is this easy-going amiability that sets Larry Haines apart as a genuinely nice man. His friendly handshake and sincere gaze make him instantly endearing, and his shy, down-to-earth, modest demeanor encourages trust and confidence. As soon as Larry greeted me at the CBS studios on New York's West Side, I stopped feeling like a stranger or an interloper. I was with a gracious host - a host who is as relaxed and fun-loving as he tries to make everyone around him. "I like to kid around," he agreed. "I love to laugh, and I love to cause other people to laugh. But not at anyone's expense. I'm not a prankster, and I wouldn't embarrass anyone. But I do like to joke around - to try to say funny things. I've been that way ever since I was a kid." There is, though, no compulsion on this particular actor's part to upstage anyone. Larry isn't an attention-grabber or constant ego-scratcher. When he heard his name called last year as the winner of the Best Daytime Actor Emmy, he "just couldn't believe it. I never expected it," Haines insisted earnestly. I was up against such fine actors - marvelously talented men like Macdonald Carey, Shepherd Strudwick, Michael Nouri. I didn't think for one minute that I'd get it!" His voice trailed off for a moment. "But, of course, I was deeply emotionally touched when the award was voted to me. To be voted on by your peers for something like that is a very, very flattering thing." And Haines is a sensitive, reachable man, who is moved by most honest shows of appreciation. While we sat chatting in his dressing room, a small boy wandered in. Speaking shyly and hesitantly, he asked Larry for his autograph. Drawing out the child, obviously interested, Larry discovered that he was a child actor. "I want to thank you," he said to the boy, "for asking for my signature. It's a great honor for an actor to be asked something like that by another actor." The child, grown two feet taller with the dignity and kindness gravely shown him by Haines, left the dressing room happily. Larry's love for children is evident in the tone he uses when talking about his own daughter, Debbie, who's twenty-one and a student at Jacksonville University. "Debbie doesn't know what she wants to do yet," he explained. "At first, she thought she'd go into journalism. Then she considered clinical psychology. And then, at the back of her mind, she's always considered communications - television or film production. "I don't believe in pushing her in any one direction. I can give her my best advice, and I certainly want the best for her. But I would never dictate to her. That's something I never had done." "Was there," I wondered, "any particular guiding rule that you gave Debbie when she was growing up?" "Just love," he answered quickly. "And always being able to communication openly. I think that's the whole answer. "But then, we've always been a very close family. My wife, Trudy, and I have been married for...so long...thirty-two years! Were a very small and close-knit family. I am a very family-oriented man. We've always tried to do as many things as possible together. Debbie has turned out to be very athletic - she's gotten more proficient at sports than I am. She and Trudy are also very good golfers, which is now my primary sport, along with boating. "Trudy and I met in high school," Larry recalled. "We both went to Mount Vernon High School. I never really knew her, but I had heard that she was a good dancer, so I asked her to the senior prom. She accepted, we had a good time - and then we didn't see each other for five years. We just went our separate ways. I went on the college road and Trudy entered the business world - she worked at Harper's Bazaar magazine for awhile. "We re-met accidentally, in Grand Central Station. She was going back to Mount Vernon from the city; I was going tin the opposite direction. We had our own two-person high school reunion on the platform, talking about old times. "Almost from that first re-meeting, we started talking to each other seven days a week and dating really seriously. But I'm old-fashioned about some things, and I wanted to make sure that I could support her before we got married, so we ended up waiting for five years before we did marry." After the ceremony, Larry insisted on another "old-fashioned" concept: "I like my wife to be at home. I didn't want her to work. Not," he added quickly, "that I object to women, in general, pursuing careers. But I think that one of the things that helped keep our marriage going was the fact that we didn't have a conflict of careers. From the beginning, Trudy and I had the common goal that I would become successful at my chosen profession. I think that many times competitiveness of two careers in one family breaks up marriages. "Trudy and I didn't have that conflict. She is completely unrelated to my field - although she does love the theater and ballet and show business. She's a wonderful critic of my work. I rely on her judgement, and always have. "And she's always shown that she cares. She's been most encouraging when things didn't look bright. Instead of her taking the attitude, 'Look, you're not going anywhere, find another type of work,' she kept reassuring me." The Haines live in Weston, Connecticut, a pleasant suburb that affords them the opportunities for golfing and boating they enjoy so much. Although Larry is intensely serious about his career, "I don't take my work home with me. Once I finish a scene, or a day's work, that's it." His is a balanced life, and he cherishes his time with his wife, daughter and their friends. It's very difficult for him, Larry says, to really believe that Search for Tomorrow is celebrating its 25th anniversary on the air - and that he has played the role of Stu Bergman for that length of time. The years on the show have brought him close friends - among them Mary Stuart and Millee Taggart and her husband - and warm memories of a pleasant working base from which he has been able to sporadically branch out. Larry looks upon the new freedom of expression on daytime drama as the most notable change in these past years. "Drama is the mirror of life," he says with sincerity. "There should be freedom in the arts with which to portray what happens in real life - without, of course, getting pornographic about it. "I'm a very lucky man," Larry Haines repeats, happily, and he's one of the rare few we know who can legitimately make that statement about their lives.

Edge, that's where I'll be. "It's going to be good - a worthwhile enterprise, i think. Fishkill is where I worked ten years ago when I first came to New York. Now, ten years later, I can say that I'm going home. When I first got to New York, I performed in two off-Broadway shows and did four Armstrong Circle Theaters. Things were looking great for me. Then everything went bad. I was broke and on unemployment. I didn't know how to begin looking for work. So, I made up my mind to give it all up and go home. "Then a friend called me and asked me to come downtown to help him hang lights in an off-Broadway theater. He figured it would bring me a few dollars. Well, it turned out that the entire technical crew was from Philadelphia so we all hit it off fine. Then a man named John Benson asked me what I was doing for the summer. I told him that I was going back home. He asked me to audition for a stock theater named the Cecilwood in Fishkill. He said that he was the director there and I should sign on as a carpenter, and give it a try. "Well, to make a long story short - I did go up there and wound up doing Bells are Ringing, A View from the Bridge, Gypsy, Enter Laughing and a review. I was also a carpenter. But my faith in myself was renewed. Now I'm going back to do this play with John Benson directing. So, it's kind of a rebirth for me. This is a real effort, a real challenge. The meat is on the table and once I jump this hurdle - feel that feeling again - the sparks will be coming out of my ears. You need a short every now and then and even though it's a lot of work, it's worth all of it. "Ed Binns will be directing Championship Season. He was on Edge years ago and he's done a million voice-overs on TV commercials. He's teaching at Penn State now. I have chased the role of Phil Romano for over five years. When the play first opened downtown, before it got to Broadway, Paul Sorvino played the role. Then he got a movie and I came within that much," he gestures, "of getting it. I still have the script right here. Then it came up again a few years later - no good, then again and I couldn't do it. But this time I said I was going to do it no matter what. I felt that if I didn't do it this time, I'd kill myself for the rest of my life. Now, it's a lovely working situation in the repertory theater with a good rehearsal period. The surroundings are just great - perfect." So, it seems like LaGioia is one the right track and all the changes that he's made in his life over the past year, are finally reaping dividends. "I really beat my head in getting this apartment in shape," he continues. "Everything kind of stopped for me around Christmas last year. I let it all go for a while. There were a few things I had to figure out on my own and now changes have happened for me and I think there's a nice fresh wind blowing for me - John LaGioia. There have been some changes in my mind about a lot of things - questions about self-identity - and even some personal and private things - some adjustments. Everybody comes to a point in their lives when they really reassess what they've been doing, kind of add things up and determine why they may be frustrated in their attempt to achieve certain things. I looked at myself as an object and tried to think of what I've been doing that wasn't as productive as I wanted it to be. "Oh, yes, there have been a lot of changes. I've changed agents. I moved to this apartment. Now I'm doing the two plays. I knocked off a few commercials last week and it looks like there will be a few Kojaks and Ball Fours in the offing. This is the year for Italians for me. One commercial is in Italian, Milo in Sleuth is half-Italian and Phil Romano in Champoionship Season is certainly. So, it just seems to be falling into place nicely and the new agents have made a big difference. "Things hadn't been going to my satisfaction for a long time. So, there was the period of introspection which lasted until February or March. I just wasn't feeling right about things. Now, the sun is shining - there's brightness. I realized that whatever business you're in, it's important to keep a certain flexibility. You can't put yourself in one specific spot and stay there because if you do - ultimately, that's where you'll stay. "It isn't a question of doing one thing - it's the ability to do is all - the commercials, the soap, a play - keep the ball rolling. It's important because your brain gets gray. Your whole frame of reference becomes on color and that's what was happening. Now, it's a new roll of the dice all the way around. "I feel revitalized and when I get back. I'm going to feel even better. Everything is going to be a lot richer. Years ago, I never was home - I was on the road all the time. Actually, what has been unusual is doing a regular job over a period of time - Edge. "Doing a daytime serial, especially Edge, always proves to be a challenge, because I don't think there's any serial that allows individual actors such freedom of expression and gives them the space to really contribute to their role personally as our show does. Lou Criscuolo (Danny Micelli) and I are perfect examples of that because we have made very personal statements about our roles. The atmosphere allows it and that's what makes the show so much fun to do. The entire show is a team effort. We are all allowed to contribute to it. So, Edge still continues to be good for me and working with Lou, its's probably a lot better than it ever has been. "I'm more positive now - I don't think too heavily as I used to. I take it a lot easier. Things aren't as oppressive. There's not so much pressure and I'm able to handle a lot more, it seems. I'm used to our new studio now and the new network so I can say that all is working out now. "I'm glad nice things are happening to me now - things are kicking off. It's been a long-dark tunnel but now the light. Call it a rebirth." And, that's exactly what we'll call it because it was just wonderful seeing John in such high spirits about everything - even though it meant a summer of hard work.

doing TV and very often if you have a fluid moment that works you give yourself a stamp that you were acting and really did a good job. But the truth of it is, in my opinion, that it is never acting. It may be good and fluid and one or more of those particular skills that are compatible with television that an actor needs...but it's never acting. It is a difficult job," he emphasized, "and I have great respect for those who do it well." Since Rick has now experienced both nighttime and daytime shows, we wondered if there was a difference and which he preferred. "It would be hard for me to say whether I prefer daytime or nighttime. The differences are, in nighttime you get paid better, which doesn't make a whole lot of sense, but it's a fact. And, of course, the exposure at night gets greater attention even though daytime has as large an audience. Love of Life is not rated number one, but we do have some 7 1/2 million viewers a day, whereas a nighttime TV show may have 12 million a week. But in terms of exposure you get valuable exposure both ways - it just seems more people make the change to doing bigger and better things from nighttime than from the soaps. So, I'm hoping that my stint with nighttime was not all in vain and I'll eventually get back to doing it as a stepping stone to films, which is really what I want to do. That's the closest chance you get to do any acting in the commercial aspect of the business. It's a conflicting sort of desire to want to make something that's so close to an art and still with the idea of selling it. You can imagine what would have become of the Mona Lisa if Michelangelo were concerned with selling it!" However, theatre and television is only one fact of Rick's life. One of his favorite pastimes is strumming his guitar and singing. "It's one of the most honest forms of expression," he tells, and surely would like to see his talent in this area take hold. More than anything else, however, Rick's deep attachment to nature is quite evident. One of his favorite haunts in California is Point Lobos, a small area located between Carmel and Big Sur, "It's a living museum. You can't take rocks or sticks or leaves out of the place - it's just incredible. The area is teeming with wildlife and what the entire Pacific Northwest must have been like before it was inhabited with civilization. It's the most beautiful piece of land I've ever seen!" Rick continued talking of nature and it's beauty and inevitably of the pollution that plagues inevitable of the pollution that plagues all cities. "Maybe this will be the summer when people begin to die and something will have to be done about it. It's really bad in Los Angeles. They have a worse pollution than in previous summers. And it is all due to the relaxed requirements on sulphur content in the fuel they've been burning in the industrial places in the area. Some years ago, I heard the statistics of how many tons of pollutants a day are dumped over Los Angeles City - not the county, mind you, the city - from the exhaust of jets. Tons...and it was in the thousands of tons of matter. There really needs to be a shift in values that is only going to be brought out by a catastrophe unfortunately." Rick misses his home, Los Angeles, and all that goes with it. His move to New York, he admits, was a bit scary since he's never lived in the Big Apple. "I wold never have come to New York without a job," he explains, and the impression he has of the city so far is constant deterioration. "Naturally, the balance and harmony in nature is deterioration and creation all happening at the same time. In New York, the deterioration far outweighs the creation and I mean that very much in the physical sense. Everywhere you look things need to be cleaned or replaced, swept up or covered up. And I'm sure it would be just as unrealistic in a place where there was more creation going on than deterioration. But creation seems to be somehow affirmative and deterioration is negative. Logically I would strive for a balance of those things. But emotionally, I prefer the creative environment where it appears that new things are coming into being all the time instead of old things dominating all the landscape." Richard K. Weber is a man who is very much in touch with his surroundings and more importantly with himself. Quite frankly, he's a very honest and decent human being. - PAT CANOLE

extremely likeable man will be talking to you. Perhaps it's that likeability that has made Ed, who stars in the role of Bill Horton on NBC's weekday serial, Days of Our Lives, and his wife, actress Joyce Bulifant, one of Hollywood's favorite couples. And it's also probably been responsible for all those "perfect couple" magazine articles Ed refers to. "I read about us in those articles," Ed says, "about the perfect couple that live on this farm that sounds like Camelot. I feel they are misrepresentations. I'd hate for someone to read them and say 'why can't that be me?' Because even though life is often painted like an old MGM movie, we all should know it's really not like that.' The temptation to exaggerate the degree of Ed's marital bliss might also be the result of the memories of those who have known him for awhile. They remember their concern for the couple's future when he and Joyce were pronounced man and wife in the yard of their farmhouse home at the mouth of a large canyon in California's San Fernando Valley. Just about a year-and-a-half earlier, Ed had been divorced from his first wife, Pamela, to whom he'd been married for two years. He was an impulsive, somewhat impatient individual, heavily engrossed in all phases of his craft. He was president (and still is) of Theatre East, a theatre workshop comprised mainly of actors, writers and directors who formerly worked in New York, and he was continuously involved in other related projects in addition to his role on Days. And Ed was getting more than a wife. Joyce had been married to James MacArthur (of Hawaii Five-O) and had two children who would be living with them. There appeared to be a lot of radical changes ahead for him. The failure of his first marriage did not worry Ed. "I was a different person then," he says. "I wasn't ready, and I really hadn't found out who I was. It was like being just on the outskirts of reality. I felt that even though I was there, in that situation. I wouldn't always remain there." Becoming a stepfather was more of a concern. I'm always afraid of being hurt," he says, again revealing the frailty of man that mixes with the strength. "i'm afraid that someone is going to withdraw from me, so I often won't give of myself outwardly as much as I'm really feeling inside. "I wanted it to be a slow process of learning to live together, rather than saying 'kids, kids, love me, love me, I'm going to be like your dad.' Because among other things, they already had a father, and there's no reason for me to diminish whatever affection they feel for him." It's worked. All of it. "I feel as if Joyce and I have always been married," says Ed. And in the same breath in which he speaks of the love and admiration he feels for his wife, he enthusiastically relates one of his latest projects. "I've just finished writing and directing an educational film called An Actor's Journey Into Celluloid. It takes a stage actor through the transition to film, and will go into release for high schools, colleges and drama schools all over the world. Next I'm helping produce a horror film, which will be a sophisticated satire." "When we were married, a part of the ceremony included a quote that I believe to be very true," explains Ed. "It's the one that says that when you're married you're like pillars that support the temple. You should stand close together, but not TOO close, or the floor will fall in. That's a little alien to the Christian theory in which you are the mystical thing of 'oneism.' I believe you support the roof by being two distinct individuals." The roof is holding firm at the Mallory home. "I'm not saying at MOMENTS you don't become one," Ed adds. "Life should be spontaneous. It can't be preconceived. That's the way our courtship was - romantic - moment to moment." The natural way their relationship unfolded and grew is another clue to the reason why it's working. "After my first marriage, I wasn't considering whether I would or wouldn't marry again," Ed recalls. "I wasn't thinking about it at all." "If you go into marriage with a preconceived traditional notion of what marriage should be, and you sit around and think, 'I'm not living up to the traditional aspects,' then you're going to be unhappy," he says. A recent example: "Joyce is a sentimentalist," Ed notes. "But while I like to make a big thing of Christmas, I think it's nonsense that someone decrees who to give gifts. So this past Valentine's Day, I didn't give Joyce anything. I told her I'd give her a present when it's Valentine's Day to me. Of course, she's been asking if it's Valentine's Day ever since; but it didn't become a major marital crisis, even though I'd broken a tradition. She knows how I feel about her. "If people are relaxed and not bound by formed notions of what their happiness should be, and they develop respect for one another, why shouldn't they be happy? Why shouldn't it work? You can seek forever if you're seeking the elusive conception of what you think love may be. You may be seeking the rest of your life." Mutual respect and honesty prevails in their marriage. "I know Joyce is professionally talented," says Ed, "and I think she believes I am." The result of that awareness has led to a proper amount of tolerance. "She understands if I react emotionally to something I'm working on, and I understand that she likes to flit around and get involved in a lot of various activities. There are no demands from either of us. If she says she wants to see a movie, I can say I don't want to go, and then she'll go. There's no need to cling." Since they share theatrical interests, many of Ed's creative projects involve Joyce, and they are not apart as much as it may seem. Honesty, respect, admiration. As the terms are repeated in Ed Mallory's conversation, one begins to see clearly why he beat the odds against a successful marriage. And the marriage has something else going for it - the children. On January 13, 1971, Edward John Mallory (he's called "John") was born to the Mallorys. "He's kind of brought all of us together as a family," claims Ed. "A second marriage is always a difficult problem with respect to the children, despite the fact that in our case it's always been amicable. Jim (James MacArthur) comes to the house with his wife, Melody, whenever they're in town, and Helen Hayes, who is the grandmother of the oldest children, comes to the house for dinner." Charlie was nine and Mary was three when Ed married Joyce. "Charlie calls me 'Ed,' but refers to me as 'my dad' to his friends," says the actor. "The situation was easier on Mary, since she was so young. But whether I'm their real father or not, I'm John's father and they know he's their brother. It's been a rewarding experience, I still have doubts about some of the other things I do, but I know a part of the real me is in that house with Joyce and the kids." - CHARLES SPRINGHEIM