Paul Raven

July 1957 HOOSIER IN MANHATTAN By JANE ALLISON Very shortly now, on Aug. 2, a very famous lady is going off the air, perhaps never to be seen in the same valiant form again. She is Flora Campbell, the "Valiant Lady" of CBS television, one, of the most popular daytime heroines of all time, who, as Helen Emerson, has visited daily in the homes of the nation tor the past two and a half years. During that time, she has, in spite of the frantic communications from her fans, managed to be jilted in three most unfortunate romances, has suffered a major crisis a week, and many, many minor ones, and lived through a constant procession of nagging worries and fears attendant to the rearing of three television children, all distinctly difficult cases. Two and a half years of that would tire anyone, whether he took his soap opera life seriously or not. And it has definitely tired Flora Campbell, who has lived Helen Emerson's life almost as deeply and intensely as her own. When she goes off the air in August, she's going off to rest, and unless she's more valiant than she thinks she is at the moment, the next few weeks will be Flora Campbell's swan song to the role, of Helen Emerson. For what some critics are apt to ignore in their ridicule of network soap opera is this: the stars of these daily dramas are really fine actors and actresses, most of them with a long background of Broadway successes. And it is because they are really good and convincing that shows like "Valiant Lady" have the hold they do on the viewing public. And secondly, these stars can't go on giving first-rate performances over a long period of time without becoming genuinely interested in the character they're portraying, feeling the next turn of the story-book plot line almost as deeply as the next turn of life in their off-camera living. Such has certainly been the case with Flora Campbell, former Broadway star of George Kauffman's "The Land Is Bright," "Foxhold in the Parlor" with Montgomery Clift, "Many Mansions" and a host of Robert Montgomery Presents, Date With Judy, Studio One and Kraft Theatre productions, from many of which she won awards. But after months and months of portraying, and really believing in Helen Emerson ("I think she's a pretty balanced, pretty straightforward woman, with, thank God, a good sense of humor, but more good-looking beaus than anyone has a right to have.") Flora Campbell's schizophrenic life has caught up with her, and she's almost too weary to go on being valiant. Up each day at six, she catches the seven o'clock train from Darien to New York. By eight she's rehearsing at CBS. At 9:30 she goes into costume and by 10: 15 she's back on camera, rehearsing straight through until noon, when the show is televised. After a quick hamburger, she grabs the next train for home, where, by 3 p.m., she begins to cope with the pleasures and problems attendant to raising two real life children, tall Tommy, 17, and little Creel, 7, running a big remodeled Connecticut farmhouse, and trying to arrange a normal home-life for her prominent society band leader husband, Ben Cutler, whose hours are hopelessly askew and never the same. When bedtime finally comes, she can never flop instantly into gorgeous slumber. Instead she sits up for an hour or so, memorizing tomorrow's lines. In the "Valiant Lady" studio, no teleprompter is ever used, and pages and pages of dialogue have sometimes to be memorized in a few hours. It's a living, all right, and a good one. But Helen Emerson has given Flora Campbell a split personality that's almost knocked the Oklahoma accent back into her glamorous voice. Should she, as Helen, marry the Governor? Everyone thinks she should. But heavens, everyone wants her, meaning Flora Campbell's, husband Ben to play for their parties, when what she would really like to do is have him stop his crazy hours so she could see more of him. The Governor? No, Ben. Etc. On stage, Helen has a daughter so neurotic she resents all her mother's efforts to help her in any way. Off camera, Flora's daughter also has a problem. It's her hospitality. There's nothing she likes better than having all the neighborhood children in for hamburgers, cokes and some rousing cheers that part just about the time Flora is going over Helen's for the morrow. "I work very hard and I don't like to kid around about the show," says Flora Campbell about "Valiant Lady." Which undoubtedly explains why Helen Emerson has been such a real and beloved daytime heroine for so long.

I believe that the dismissal of Berger,Schnabel etc was made at a higher level and Marland was forced to comply. I'm sure he later said he wished he had fought harder against that edict.

That was a mistake. Either hire another actress or film it in such a way that we barely see Val.

They made the decision to have a staff member at Crimson Lights, Society and Grubby Phantom wandering around but no customers or clients. Maybe it was a COVID thing initially but something needs to be done.

The Doctors Mr Harry Monroe

Chance,com office was a stripped down version of Dark Horse, Mal Young's creation that was going to turn Nick into a major business player. Josh Griffin returned and quickly dropped it with some nonsense about Nick losing it. JM said he liked the Dark Horse story. Now Nick 'runs' New Hope with no office and no story. They really should have everyone working for Newman (not the media division) and Jabot. (Sonja Flemming/CBS) (Sonja Flemming/CBS)

One reason AMC became a hit was the 1pm timeslot. There was no network competition for it. When it debuted they tried a soap block 12-1.30 but only AMC survived. To move either AMC or OLTL would put them in the firing line of other more established shows. eg if OLTL was moved after AMC that would put it up against ATWT which was #1 in those days.

April 1959 Returns To Series Anne Burr who plays the part of Claire Lowell in As The World Turns has returned to the cast after an absence of five months spent recovering from back injuries suffered in a fall at home

As The World turns Some clarification re Claire Cassen Shea From Oct 63 Nancy Wickwire who was Claire Lowell in "World" (she replaced the first Claire, Anne Burr), was in and out of the serial five times between 1958 and 1962 before finally giving up the part. Her absence; allowed her to do other stage and TV. Jone Allison, who had been previously seen on "The Guiding Light" now plays Claire. Nancy Wickwire was first a temp Claire from Dec 58 when Anne Burr broke her hip, Anne returned to the role in 59, but Nancy became Claire full time at some point. From that article it seems that Claire was written out at times . Perhaps Nancy was not on contract for a time and Claire disappeared ar was written off (eg visiting her brother etc) By Nov 1960 Gertrude Warner was in the part but it seems Nancy returned again to replace Gertrude until Jone took over. Quite confusing!

That dumb robot and the eyes on the wall are still there? Speaking of the patio, I've always wondered how people come and go through that gate. So you can just just leave w/o paying or is it counter service only? Does CL just serve coffee and pastries/cakes? No meals? Does it close late afternoon? It would more useful if it opened later and maybe did casual dinner. More opportunity for characters to be there.

I know the counter is different, but if there were other changes they were minimal. Changing the look doesn't translate into cold and desolate. To me the place looks old fashioned not retro cool.

Anyone interested in more of the above check pout the Ratings threads in Cancelled Soaps sections for way more detailed ratings from the 50's thru 80's. eg Ratings for the two weeks ended June 25, 1972. 11.8 ATWT 35% 10.4 DAYS 34% 9.9 GH 33% 9.5 Doctors 33% 9.1 AW 31% 8.7 Search 32% 8.5 GL 29% 8.2 LIAMST 28% 8.0 EON 28% 7.9 OLTL 27% 2 weeks Sept 29-Oct 10. 1969 1. As The World Turns 13.7/50 2. Edge of Night 10.9/42 3. Search for Tomorrow 10.2/45 4. Another World 10.0/37 5. Guiding Light 9.7/36 6. Love Is A Many Splendored Thing 9.3/34 7. Gomer Pyle 8.9/34 8. The Doctors 8.7/33 9. Secret Storm 8.6/32 10. Days of Our Lives 8.4/30 11. Love of Life 7.9/41 12. General Hospital 7.7/29 13. Newlywed Game 7.2/27 14. Dark Shadows 7.2/27 15. Where The Heart Is 6.9/32 December 1958 1. As The World Turns (CBS) 9.3 2 Price is Right (NBC) 9.0 3. Concentration (NBC) 9.0 4. Search For Tomorrow (CBS) 8.2 5. The Guiding Light (CBS) 8.2 6. The Verdict is Yours (CBS) 7.9 7.Secret Storm (CBS) 7.9 8. House Party (CBS) 7.7 9.The Edge of Night (CBS) 7.6 10.The Brighter Day (CBS) 7.4

Instead of acknowledging and exploring the challenges Nate might have in a career change, they just go their usual default of everyone being brilliant/successful at what they do. BTW Sharon needs to update Crimson Lights. That decor has served them well for over 20 years but the jukebox and creepy wall 'art' needs to go. IRL a business that doesn't change in that time would look tired and dated. Especially when GC's movers and shakers choose to go there. The floorplan can stay but redecorating is a must. Maybe that would attract some customers apart from the cast?

Surprised to discover that Constance Ford was married at one time. Came across a newspaper article from 1954. The relevant excerpt Shelley Hull, the son of the actor and stage manager at the theater, into her life. She and Hull, now a director for ABC-TV were married in 1947. ' THE HULLS live in Greenwich Village in New York in an apartment Connie says is furnished "for comfort." They enjoy the easy informality of Village life. But as a housewife, Connie has one admitted handicap, she hates to cook. Shelley Hull went on to work with Aaron Spelling on Colbys, Love Boat etc They separated in late 1955 Constance Ford and her husband Shelley Hull celebrate their ninth wedding anniversary by separating. She'll keep their apartment, he'll move to another.

Mary Mason Betty and Bob Claire 1939 Lorenzo Jones temp for Jean McCoy 1945

Leona Powers Life Can Be Beautiful Victoria Vandenbush Stella Dallas 1943 Young Widder Brown 1943/1948 Lynne Rogers Light of the World Miriam Barry Thomson Road of Life Kurt Rockwell 1950 Romance of Helen Trent 1959 Whispering Streets 1959 Woman of America Dexter Killborn 1946

September 1981 4 'Light' actors fired NEW YORK - The soap opera youth mania has delivered a crushing blow to "Guiding Light." Several performers with long-running records have been given their walking papers. They include Barbara Berjer and Robert Mill! (Barbara and Adam Thorpe), Stefan Schnabel (Steve Jackson), and Mart Hulswit (Ed Bauer). Hulswit, a 12-year veteran of the serial, was not particularly dismayed or surprised by his out-of-work notice. "I've seen changes brewing for at least the past year," says Hulswit. "I was told that there is going to be a change in the show's format and focus for what the producers believe to be a better, more competitive product, one that's more successful in attracting a new, younger audience. To that end, the show is phasing down or moving out characters or actors most associated with the 'old show.' It's a bold move that will result in an entirely different 'Guiding Light' within the next year. "I don't feel negative. In 1969, after doing stage productions for Joe Papp's New York Shakespeare Festival, dozens of nighttime guest-starring roles, and several films, I chose to work in soaps in order to give my family financial security. During my years on the show, however, the work became a satisfying creative endeavor. Recently, I became aware that I was only remaining on the show for the money, because my character had become a mere figurehead. And that is not compatible with being an artist.

Dec 79 Schreveport Journal Former Shreveporter Moves From Academe to the Soaps By DAVID CONNELLY When John William Corrington and his wife Joyce began their careers in academe they never thought they would end up as writers for a daytime drama. Now they dream up the daily trials and tribulations of the characters in “Search for Tomorrow” which airs every weekday at 11:30 am on KSLA Channel 12 (CBS). Mr Corrington, a 1951 graduate of Byrd High School and a 1956 graduate of Centenary College taught English on the college level for many years and became chairman of the English Department at Loyola University in New Orleans. He later became an attorney and practiced law in the Crescent City. Mrs Corrington, his wife of 20 years, worked as a chemical engineer for many years and also served as a professor of chemistry at Xavier University in New Orleans. She later collaborated with her husband on their many screenplays in addition to now co-writing the scripts of “Search for Tomorrow” . The Corringtons who now live In New Orleans have included characters from that city and Shreveport in the drama and report that they have have met with much success “The producers of the show were very receptive to these characters because they had never had anything like them” Mr Corrington said “It adds another unique dimension to our drama” Though the network daytime dramas are taped In New York City Mrs Corrington noted that many of the writers live In other parts of the country. “They like to keep the shows reflective of middle America and most daytime dramas are set in smaller cities often in the Midwest” she said. Writing for a daytime drama is lucrative but it’s also extremely demanding “It consumes your life” Mrs Corrington said, “If you weren’t married to the person you’re writing with you’d never see your husband”. “It’s like working for a newspaper”, Mr Corrington added. “You have a new deadline every day and you have to come up with another script. You rarely get a day off”. There are three levels to writing for a daytime drama according to Mrs Corrington. First they have to decide on a long-term plot — what’s going to happen In the next two or three months. Then they have to develop the synopsis for a week and further break that down into separate acts. Finally there’s the actual writing of dialogue. For the most part Mrs Corrington handles the long-term projections and her husband writes the dialogue though they work together on all aspects of the drama. “We have discussed many scripts over dinner" Mrs Corrington said. The actual time involved in writing an individual script varies “If you have a script you’re really excited about it comes fast” Mr Corrington said. “Sometimes you really have to struggle with it. Usually it takes about 6-10 hours to write one half-hour show and that doesn’t include conferences and planning" The husband-and-wife team regularly talks with the producers and directors o( the show on the phone. As writers the Corringtons appreciate the emphasis on the script in soap operas. “Daytime drama is literate” Mrs Corrington said “Because you can’t go out and do all the visuals you have to rely on words". While working on feature films the Corringtons found that the movie industry put a low premium on words. “In Hollywood a writer has little impact" Mrs Corrington said. "The director is the motivating force - You give him a script which he uses as a blueprint and often you recognize only a small part of your work in the final product”. Writing for daytime has a different kind of frustration ‘The greatest frustration is that it’s so ephemeral there are no repeats”, she added. “You can see movies over and over again and good novels hang around for a long time I’d like to produce something that hangs around for a while”. Any daytime drama has to attract a female audience, but Mrs Corrington is quick to point out that “Search for Tomorrow” has a male following too. “According to the Nielsen ratings men make up about 20 percent of our audience. “The main consideration is that we always try to involve women in the stories”, she added. “We don’t have many male-male conflicts independent of women”. Much criticism has been levied against daytime dramas for their treatment of women and for what some see as their negative effect on the female viewer. Soap operas according to some critics encourage women to ignore their own problems while fantasizing about the more exciting lives of the female characters on the screen. Caught up in their daytime fantasies they don’t take active steps to change their lives. The Corringtons reject this view “If you're sitting in front of a TV set you’re watching dreams being created. Psychologists say we can’t live without dreams”, Mrs Corrington said. “You get to know your soap opera friends better than most of your real friends” she added. "When was the last time you stood by listening to a couple argue or when was the last time you shared an extremely personal problem with a friend? I think we’re a little remote in our daily lives”. In the future Mr Corrington who has written novels, poems and short stories would like to devote more time to essays. “There’s a point when I think I’ll want to leave these more concrete investigations and concentrate on pure theory” he said. But Mrs Corrington quickly added that they haven’t tired of their work on “Search for Tomorrow ” “We’ve been doing it now for over a year and it’s still a kick”.

Interesting to see that episode one year into the show's run. The John Hughes story was front and center here but that character never was prominent and seemingly forgotten. He did come to Oakdale for a short time. If John had have been used more some Hughes cousins could have been brought in at some point. So Chris and Nancy thought it best that the children thought their uncle was dead rather than know the shameful truth that he was a criminal. And now Chris is lying to Nancy about seeing him....I'm sure Mrs Hughes went on blast when the truth came out. As for lovers Jim and Edie-they were not even allowed a peck on the cheek. Interesting that we went from evening in the first scene to late afternoon/evening after the ad break. Soaps hardly ever move to a new day in the same episode. Les Damon,Santos Ortega and Don McLaughlin had all done heaps of radio soaps in the 40's and had probably. crossed paths on many occasions. I think Damon was wearing a toupee as I have seen pictures of him balding from the 40's. Have to hand it to the actors remembering their lines in a live 7 minute scene.

So Elena has an erotic dream about Nate and Imani. Ok. Maybe a 3some is on the horizon.

I guess Larry Haines was recurring or dropped at the end of a 13 week contract cycle. Did he and Constance Ford have any chemistry?

Newspapers.com article from that time.

Not to defend Sheldon, but I read that the show improved once he gained some experience in writing a daily show. It seems that sometimes these writers who are inexperienced with the daily serial format are sometimes thrown in at the deep end with little preparation or guidance and have to learn on the job under terrible time constraints.

Edmon Ryan Day in Court Jim Finnegan 1965

Cast and storyline May 1959. The Hursleys were headwriters. 2000th episode aired Fri May 8th 1959. The trials and tribulations of Joanne Tate, a comely former widow, now remarried, played by Mary Stuart; her husband, Arthur Tate, played by Terry O'Sullivan; and their friends, Stu and Marge Bergman, played by Larry Haines and Melba Rae. Currently the plot revolves around the trial of Joanne's sister, Eunice Webster, and Rex Twining, for the murder of Joanne's rich aunt, Cornelia Simmons. Eunice is played by Marion Brash, Twining by Lawrence Hugo. Other principals in the cast are Anne Pearson as Allison Simmons, daughter of the dead woman and heir apparent to her fortune; Sandy Robinson as Janet Bergman; Tony Ray as Bud Gardner, her husband; and Lynn Loring as Patti, Joanne's daughter by a former marriage.