toml1962

Oh God, how mortifiyingly absurd...for the record, during HIS tenure as head writer, the show won TWO awards for its writing...AND Cenedella has at least one highly acclaimed novel to his credit. So tell me, where is your evidence that Cendella wrote soley off of her ideas? LOL. Opinions are WORTHLESS when the person presenting them has no repect for the FACTS. I have to say that I am constanly amazed at how often your opinions are NOT rooted in anything factual. You appear not to have the slightest knowledge of how these things work. Nixon RARELY wrote the scripts - she PLOTTED them. Cenedella was one among who wrote the scripts, dialogue and the subplots. Others included Kiki McCabe, Don Wallace, Ralph Ellis, Elspeth Eric, Frances Rickett, Kathy Callaway and Robert Newman On top of which, when faced with facts (such as the one which PROVES the character Steve Frame on AW left the show on the SAME day that Mary Matthews died) you ignore them! Again, absurd.

There is a bogus so-called seller out there who not only claims to have those GL episodes, but full years of SOM. Several people I know have actually given this female lots of money and rec'd nothing in return. Moreover, there is a website that lists her name and address and much more. I would never pay ANYONE for any of those all at once. I might be inclined to pay a small amount for a demo dvd, showing clips of at least 30-50 episodes. THEN I might buy them slowly. Needless to say, when I myself asked this person to do as much, they never replied. For those interested, here is the link: http://www.tvpast.org/forum/sales-deals/19896-bootleg-warning-poland.html#ixzz1wyFi23GB Has used the names N, Anna Nicole, Nicole, Lucy Martin, Jessica Nicel, Alice Tenny, Caroline Novak Email addys include: EMAILS: [email protected], [email protected], [email protected], [email protected], [email protected], [email protected], [email protected], [email protected], [email protected], [email protected], [email protected], [email protected], [email protected], [email protected], [email protected] [email protected], [email protected] (for PayPal account), [email protected] (claims it's her sister's PayPal account & shows Jessica Nicel as the account owner) Many more. DO NOT buy from people who claim to have tons of episodes without making them PROVE they do!

Cenedella was not "lucky," he happens to have been already on the show as one of her two assistant writers BEFORE the Steve-Rachel-Alice story began. Nixon herself credited Cenedella as hugely responsible for the shows success, which came about several years before Reinholt came on the show. It was also Nixon who recommended Cenedella become head writer when she left in February 1969 to concentrate full time on OLTL. In other words, opinions are one thing - facts often quite another. Some may wish to assume Nixon did not know what she was doing when she hired him AND kept him on the show AND saw to his promotion...I on the other hand, agree with the dear lady - The man was a fine writer.

Whoever wrote that article is ill-informed. Cenedella left SOMERSET to concentrate on AW, not the other way around. And he left the show in January 1971. about six weeks before the titles changed on March 1, 1971. This is all backed up by numerous sources including Daytime TV, Afternoon TV and the wonderful Another World website.

Agree with nearly all of what you say. This superstition about the show being badly written during its first two + years has no basis in fact. It is merely the ill-informed opinion of one writer whose article clearly showed they had NOT followed the show very closely. Other's since then propagated this inaccuracy and those who did not watch the show repeat it again and again. People always say the show got better when Slesar came on in 1972, but he came on in 1971 nine months after the show began so as to free up Cenedella - that is clear from many sources. But, two things: 1) The crossovers were an issue largely because the shows were not back to back, due to the fact that SOM was unable to go up against another P&G show. I have letters printed in soap mags where people complained A LOT about this very issue and that SOM not being shown right after AW caused some viewers lots of issues due to the fact that if you wanted to know what happened after AW, you HAD to watch SOM. Also, most parents said that their kids came home when SOM came on and that it was hard to watch it in full, etc. BUT, as some have also stated here, the crossovers were very useful. AND, when the crossovers dwindled, so too did the ratings. 2) The Jill/Tony story did not come to an end by dint of Slesar, who came on as HW in early January 1971. Pammy and Randy work big time to keep the two of them apart nearly from the start of the show. Also, the actor who originated the role of Tony Cooper, Doug Chapin, refused to renew his contract. Tony was originally only supposed to leave town for a month or so. When Chapin left, the character stayed away for six months, thus the end of Tony and Jill. Slesar brought on Mitch Farmer at the end of October 1971, and then brought back Tony to heat things up at the end of November of that same year. I recall an item in one of the soap magazines that Pamela Toll was approached but declined to resume her role as Pammy.

I think someone mentioned this before, but for the record, five episodes are at UCLA. <table border="0" cellpadding="0" cellspacing="0" style="width: 109px;" width="109"> <colgroup> <col /> </colgroup> <tbody> <tr height="19"> <td height="19" style="width: 109px; height: 19px; text-align: center;"> 3/12/1973</td> </tr> <tr height="19"> <td height="19" style="height: 19px; text-align: center;"> 3/20/1973</td> </tr> <tr height="19"> <td height="19" style="height: 19px; text-align: center;"> 3/28/1973</td> </tr> <tr height="19"> <td height="19" style="height: 19px; text-align: center;"> 4/5/1973</td> </tr> <tr height="19"> <td height="19" style="height: 19px; text-align: center;"> 4/13/1973</td> </tr> </tbody></table>

All of these episodes exist: <table border="0" cellpadding="0" cellspacing="0" style="width: 275px;" width="274"> <colgroup> <col /> <col /> <col /> </colgroup> <tbody> <tr height="19"> <td height="19" style="width: 64px; height: 19px;"> 1</td> <td style="width: 76px;"> 3/8/1971</td> <td style="width: 135px;"> UCLA</td> </tr> <tr height="19"> <td height="19" style="height: 19px;"> 2</td> <td> 3/16/1971</td> <td> UCLA</td> </tr> <tr height="19"> <td height="19" style="height: 19px;"> 3</td> <td> 3/24/1971</td> <td> UCLA</td> </tr> <tr height="19"> <td height="19" style="height: 19px;"> 4</td> <td> 4/1/1971</td> <td> UCLA</td> </tr> <tr height="19"> <td height="19" style="height: 19px;"> 5</td> <td> 4/9/1971</td> <td> UCLA</td> </tr> <tr height="19"> <td height="19" style="height: 19px;"> 6</td> <td> 3/12/1973</td> <td> UCLA</td> </tr> <tr height="19"> <td height="19" style="height: 19px;"> 7</td> <td> 3/20/1973</td> <td> UCLA</td> </tr> <tr height="19"> <td height="19" style="height: 19px;"> 8</td> <td> 3/28/1973</td> <td> UCLA</td> </tr> <tr height="19"> <td height="19" style="height: 19px;"> 9</td> <td> 4/5/1973</td> <td> UCLA</td> </tr> <tr height="19"> <td height="19" style="height: 19px;"> 10</td> <td> 4/13/1973</td> <td> UCLA</td> </tr> <tr height="19"> <td height="19" style="height: 19px;"> 11</td> <td> 4/22/1975</td> <td> Paley Center</td> </tr> <tr height="19"> <td height="19" style="height: 19px;"> 12</td> <td> 12/11/1975</td> <td> Paley Center</td> </tr> <tr height="19"> <td height="19" style="height: 19px;"> 13</td> <td> 1/30/1976</td> <td> Paley Center</td> </tr> <tr height="19"> <td height="19" style="height: 19px;"> 14</td> <td> 5/20/1976</td> <td> Paley Center</td> </tr> <tr height="19"> <td height="19" style="height: 19px;"> 15</td> <td> 6/8/1976</td> <td> Paley Center</td> </tr> <tr height="19"> <td height="19" style="height: 19px;"> 16</td> <td> 10/7/1976</td> <td> UCLA</td> </tr> <tr height="19"> <td height="19" style="height: 19px;"> 17</td> <td> 1976</td> <td> Paley Center</td> </tr> <tr height="19"> <td height="19" style="height: 19px;"> 18</td> <td> 1976</td> <td> Paley Center</td> </tr> </tbody></table> Am willing to bet others exist in private collections.

http://www.celebrity..._952_33517.html

Funny, but IMO Strasser DID see the vulnerabilities in the role. It was Wyndham who played it full on the first two years or so. This from an interview. Star: VICTORIA WYNDHAM Role: Rachel Hutchins, ANOTHER WORLD AW Debut: July 15, 1972 Birthday: May 22 Children: Darian and Christian A WOMAN OF INDEPENDENT MEANS Victoria Wyndham Celebrates Her Silver Anniversary as Bay City's Beloved, Self-Reliant Heroine DIGEST ONLINE: When you joined ANOTHER WORLD back in 1972, you and Constance Ford (Ada) reportedly got off to a bad start? VICTORIA WYNDHAM: I remember that first day rehearsing with her. I had made it very clear to the people who'd hired me that I didn't want to hear, "Oh, well, Robbie [Robin Strasser] would have done it differently." The problem with taking over from somebody is that you're going to bring in your own bag of tricks. That's what they were hiring, that's what they wanted. [The producer] assured me [there would be no comparisons to Robin Strasser's interpretation of the role]. "Oh, no, no, that's not going to happen," they said, "because we're hiring you. We've tried other people and it hasn't worked. We've wanted you for the whole year, even though we weren't able to get you because you were retired with your babies. [FYI: Wyndham had put her acting career on hold while her sons were infants.] And now we've got you. We hired you because we want to change this character [and make her sympathetic]. It's what you do that we want." So that first day I come in, and I'm doing a scene with Connie, and we finish the scene, and she looks at the director du jour and she says, "Well, Robbie never would have played it like that, is that the way you're gonna play it?" I put my script down and I waited for the director to run interference, and it was clear to me that he was a little intimidated by her, so I put my script down and I said, "When you've all sorted this out, I'll be in my dressing room!" I walked off the set, and that was the end of that -- that was the moment that Connie decided that I was a great replacement for Robin. DIGEST ONLINE: So you didn't let Constance Ford intimidate you? WYNDHAM: I'd worked with people like this before. I'd been on Broadway, I'd been off-Broadway. I'd been working with Lily Tomlin and Madeline Kahn and everybody else, so Connie ford was certainly not going to intimidate me on my first day. Well, that was all she wanted to do; she was testing my mettle and she found out [i wouldn't wilt] and from that point on we got along famously DIGEST ONLINE: It's interesting. You've become so strongly identified with Rachel, a character that Robin Strasser first portrayed; and Robin has become so identified with Dorian Lord (on ONE LIFE TO LIVE), a role that SHE didn't create. Have you two ever discussed that parallel? WYNDHAM: No I don't see Robin; I don't see anybody really in the business. I live out in the country and when I am working in New York, we're all the way out in Brooklyn [at the NBC studio] and she's in Manhattan [at ABC]. By the time I finish taping, I get back [home] very late at night. I go to bed, learn my words and go to work the next day, and then at the end of the week I go home to the country. You know, I spend so many hours here [at the studio] with this company, more hours than I ever get to spend with my family or my friends, so I don't do a whole lot of business [things]. [Robin and I] see each other at functions, and we enjoy seeing each other, but we hardly talk shop; we usually talk about our sons, do mother stuff. It's strange. We admire each other's work, but I think Robin is so totally identified with my character. The first thing you all say to me is, "Well, of course you took over for Robin Strasser." I took over for Robin Strasser? I've been doing this part for 25 years, she did it for 5. If that's not parity, what am I nuts? I don't consider it as taking over a part; I consider it that I created a new part. DIGEST ONLINE: When you became Rachel, making her more sympathetic was immediately part of your vision for the character, wasn't it? WYNDHAM: That's why they hired me. I just exposed her vulnerabilities, and Robin didn't see the part that way. She saw it differently and it was totally valid. From what I understand that she did, I think it was a very valid way to go. You know, we're different, that's all. I find heavies are interesting because of what you can bring to them from the other side of the deck. Some people play heavies and think they're interesting, because they don't ever want to show any other side of the deck. It's just two different ways of working, and they're both valid. But what [producer] Paul Rauch and [head writer] Pete Lemay wanted was to see a little bit more of what made her tick. That's why they wanted me, that was what the deal was. I was to come on and give them what I do, not what somebody else did. DIGEST ONLINE: After all these years, do fans ever get the two of you confused? WYNDHAM: Do you know my favorite story about Robin? She made quite an impression on everyone. I was coming down from Boston after seeing my son, when he was at college at BU, and I'm on the Boston Turnpike. I'm going through the tollgate and I'm futzing with my handbag, and the girl at the toll booth starts getting all apoplectic and nervous and smiling and getting all short of breath. She's very excited because she recognized me. So I hand her the money and she goes, "Wait, wait, oh you're on my favorite soap." Well, I don't supply my name, I'm waiting for her to get it, and as I'm driving away, she goes, "I just love you Robin Strasser -- for years!" I drive away and I think -- at that point I'd been on the show for 20 years -- and it still isn't my part yet! It was a very funny thing. I laughed I think all the way down to Connecticut. Because Robin and I don't even look alike. This woman obviously was a current viewer; she knew who I was. She wasn't mistaking me for Robin, she just couldn't get the right name. More power to Robin-- what an indelible impression she made.

I have more there in other folders (did it based on the TV seasons - 70-71, 71-72, etc.). Also found a lot more in magazines. Will add as I can.

http://s1257.photobucket.com/albums/ii508/Tom_Lowery/SOMERSET/1969-70%20Season/ A link to photos of Somerset's cast from the first six months.

People's faces do often change a lot over many years, but I too do not think this is the same person. The CR from AW & SOM is on Facebook and although that photo is clearly from years ago, the eyes of that CR and this other one are very differrent. That is one feature that rarely if ever changes.

Fawn was on a fair amount of shows in the 1970s: Switch, Lannigan's Rabbi, Chips, Barnaby Jones and others. She got on the show the way most actors do - an audition. She was a so-so actress, and her career did not last all that long. She certainly was not the actress Jarrett was, and the original actress, Meg Wittner, was better in the role than both IMO. In fairness, Harriman only started acting around 1970, whereas Jarrett had been around for more than a decade before SOM as a child actor. Of all three, only Wittner is still active.