Paul Raven

Ellen Foley also recorded a few albums and had some success in Europe and Australia. Her second album was written/produced by Mick Jones of The Clash, with whom she was in a relationship at the time. As for David Pressman I posted an interview with him and Larry Auerbach, long time director of Love of Life in this thread but it didn't get much attention. I'm going to repost as I'm sure it will be of interest.

I can't think of another character named Sally that had any prominence apart from Sally on Y&R in the 70's. And Sally Spectra on B&B in the 80's/90's.

Daniel Davis (Eliot Texas)

Re Golden windows Add James Mishler Sept 54 Barbara Cook also joined at that time.

For the 25th anni, Alice could have easily had a fantasy of being re-united with Steve, thus allowing Courtney and Reinholt to be together one last time. The Cory set was impressive, although there needed to be an front entrance.

Has there ever been a 'civilian' extra at the Nurses Station over the years? It's always nurses and orderlies looking at clipboards, shuffling papers, taking/replacing bottles in medicine cabinet, answering phones and conferring. Any hospital I've been to there are always members of the public wandering around.

it was madness dumping Beverly Penberthy. She was still avery attractive woman and in all her years on the show Pat had only been married once. It would have made more sense to use Pat as a bridge to establishing a new family, much like Jill marrying into the Abbotts on Y&R. Pat's new husband could have had a couple of kids and Pat had Mike and Marianne who had been aged dramatically in the 70's and could have been reintroduced still in their 20's to be viable.

Those radio performers must have found TV soaps so limiting.Previously they could work on several shows at once . Some corrections. SFT Karl Weber wasn't Arthur for 4 years. I think it was only one, until Terry O'Sullivan returned. Kitty Foyle wasn't on the air in 54

Jessie doesn't get a love interest, at least nothing major. With so little focus on the hospital it begs the question of what Jessie will do. Maybe Marland will do some more hospital based stuff.

Oops, got confused. Sorry about that. Always check before posting!

Jonathan Frid Mark LaMura Lois Kibbee William Roerick

Not always. I'm sure there were many married performers who had an understanding and acccomodating wife or an incredibly naive one. Another two... James Mitchell Holland Taylor

Screen Guild Theater and Screen directors Playhouse available...

There were articles way back in the 70's of how independent Ms Flannery knew her way around a toolshed.... Peter Barton? Shemar Moore?

Am I seeing a little Penelope Cruz in some of those shots?? Susan looks great with the short cut. She really should go with that length now as the long locks look dated on her .

There were articles way back in the 70's of how independent Ms Flannery knew her way around a toolshed.... Of course, there's another Days lady that we might include in this list and a long time GH actor...

Dean Santoro Robert Gentry Warren Burton Lee Patterson Dennis Cooney

Constance Ford Irene Dailey John Colenback Richard Guthrie

Charles Gussman became headwriter in Dec 55, replacing Irving Vendig who I guess was preparing for Edge of Night. I think Gussman stayed until the Hursleys became the next headwriters in 57.

Re SFT Kylie Halliday was played by Lisa (not Leslie) Buck Variety has Nina Reader joining in Feb 56, but I think this might not be in the role of Allison as it appears her story didn't begin till 58. However Variety reports in Dec 56 that the role of Frank Gardner (Jo's father) is now being played by Eric Dressler as Harry Holcombe , newly cast , has left to join the road company of the play 'No Time for Sargeants", So Frank began in late 56, not 57.

David O' Brien Anthony George Joel Crothers

July 1964 ABC-TV's Tom Moore and Colgate evidently can't see eye to eye about spotting Colgate's new daytime serial, Time of Challenge, into the network's 3: 30 to 4 p.m. strip this fall. Colgate likes to control its program when it can and Moore isn't disposed to go along. Challenge, written by Peer Oppenheimer, would follow General Hospital. Colgate owns The Doctors, currently on NBC-TV. Some hope may be held out to Colgate: ABC-TV wants to survey the whole field of daytime product availability before locking-in the fall schedule and there's always the possibility of a change of attitude over the course of a month.

Sponsor Magazine March 1963 `The Secret Storm' Profile of a daytime tv soap opera Two disparate segments of American society -the hard headed businessman and the soft -boiled egghead -appear to see eye to eye on at least one subject, namely the daytime television serial. Both are reportedly viewing with considerable reverence the latter -day soapers. Probers seeking a motive for the enduring affection lavished on daytime serials by national advertisers, soon learn that the latter derive quantity plus circulation and astounding viewer loyalty from sponsoring serials. Moreover, daytime serials on television today are garnering high Nielsens. Should the trend continue, the networks will before long, offer nighttime serials. Negotiations are presently under way. Says a top -ranking CBS TV sales executive, speaking of the enormous popularity of The Secret Storm, a Roy W'insor product seen Mon. -Fri. (4 to 4:30 p.m. EST) , "When the advertiser hitches on to a dramatic serial such as this he's buying the most homes for his advertising dollar and at the same time getting a story that is holding audiences with missionary fervor day in and day out, a story surprisingly well written." Anti -intellectuals as well as intellectuals seen to agree that throughout today's crop of television serials runs a sleep vein of professional and more meaningful writing, acting and production values. In the case of The Secret Storm, there is sheen and polish akin to that of the Broadway theatre; in fact, all the performers in the ten -year -old skein from the Broadway stage. Notably principal players Haila Stoddard as Pauline Fuller. Marjorie Gateson as Grace Tyrell and James Vickery as Alan Dunbar. The Misses Gateson, Stoddard and Jada Rowland, who plays Amy, are members of the original cast. The Secret Storm made its television debut I February 1954 as a 15- minute serial. It was expanded to a half hour in the summer of 1962. Carl Bixby is the present head writer The strength of the dramatic serial is in its form, Winsor contends. "It is a continued story about characters whose hopes, fears, confusions, and ambitions stimulate an identifying emotional response in the viewer," he observes. "Some characters are basically good. The viewer sees such characters as an idealization of himself. In the immoral or amoral character, the viewer sees personal enemies who should be chastised. 'This very fact -good versus evil- produces conflict. Conflict- physical and emotional -is the stuff of which drama is made." Winsor and his colleagues maintain that The Secret Storm, for one, reflects the world in which we live, "a world recognized, we believe, by everyone who can be attracted as viewers only if there is some growth in the characters we present for their entertainment. These characters reflect this world by their present and future behavior. They are not presented as stereotyped personifications of goodness -a woman exposed periodically to evil in the person of the wicked carpetbagger. Nor do they stagnate- a Pollyanna beset with one larger than life problem after another yet never growing into a richer. wiser, or more productive human being." No tumors on the brain. Gone, for the most part, from today's serials are the interminable maladies and sicknesses, the endless surgical operations, the use of crutches, canes, plaster casts and surgical dressings. "There are no crutches in The Secret Storm," emphasizes William Francisco, associate producer in the Winsor office. "There are no incurable diseases among the characters portrayed, he says triumphantly. Once in a while, a character will have a slight headache or come home exhausted. Always, there is a sense of reality about the characters." What influence, if any, do advertisers play in the story line of The Secret Storm? "None," Francisco declares, adding "they are marvelous about it." American Home Products has been a sponsor since its inception. The other- Cheseborough- Ponds, Colgate, French's Mustard, Johnson &Johnson, Lever Brothers, Nestle, General Mills -have been associated with the program front one to fine years. The Secret Storm has been a consistent, top -rated series. The latest National Nielsens make it No. 9 among the daytime programs. Both Winsor and CBS TV sales point out that as a group, daytime serials reach an audience of more than four million homes per minute year -round. The daytime serial group plays to an average of 99 adult women per 100 sets; the weekday 10 a.m. -5 p.m. program average in this respect is 85 adults per 100 sets. In addition to The Secret Storm, CBS TV's roster of daytime serials includes As the World Turns, The Edge of Night, The Guiding Light, Love of Life and Search for Tomorrow. On NBC TV, Young Dr. Malone, after a long life fades away April, to be replaced by two new serials, Ben .Jerrod and The Doctors. ABC TV will introduce a new daytime serial, General Hospital. starting in April. Enormous preparation. What goes into the making of a 30 -minute daytime serial such as The Secret Storm? As many as 12 hours of preparation and rehearsal, not counting the actual writing and editing of scripts. Each day's activities begin in the Winsor office. Gloria Monty, director since its inception, meets at 9:30 a.m. with associate producer Francisco and other staffers. Miss Monty', on this occasion, might learn the program schedule for two days hence has been preempted. Emergency measures must be taken immediately. Drastic cuts and revisions in the scripts must be made plus cast calls to alert performers to the new schedules. Major problem: six sets have been built for the two day's episodes but now only three can be used. Which best represent key scenes? Ten minutes later, with the aid of a floor plan in general manager Everett Bradley's office, script changes are made and transmitted into stage positions and movements for the actors involved. At 9:45 a.m. the changes are approved by Winsor. Thirty minutes later, Miss Monty and cast members are starting the clay's rehearsal in one of the rehearsal rooms at CBS TV"s Liederkranz Hall studios. The rehearsal continues until 12:30 when there is a 30- minute break usually a hasty sandwich and container of coffee. The intense business of the afternoon starts at 1 p.m. with "fax on camera" or "fax rehearsal" (rehearsal with facilities) in Liederkranz Hall's Studio 54. The set for the previous show has been broken and replaced with that of The Secret Storm. Miss Monty, with the aplomb and certainty of a general commanding a garrison at Kyber Pass, issues instructions (always accompanied with "please" and "thank you ") from the darkened control room. Her commands go into the headphones of cameramen, floor manager, boom man, etc. The important business of blocking on camera continues until 2:45 p.m. when there is a five- minute break followed by dress rehearsal. Overall excellence. At 4 pm. a flashing red light in front of Studio 54 signals that The Secret Storm is on the air live. And again, the vast daytime audience, from coast to coast, sits entranced. A network executive steeped in the folklore of daytime serial asked this question: "What motivates such inordinate loyalty to a program like The Secret Storm? Larya Mantles, a discerning critic writing in The Reporter summed it up succinctly when she said: "I was held ... by the over -all excellence of the acting, the ingenuity of the plotting, and a casting little short of inspired: the performers had become the people." When 4:30 p.m. rolls around, Miss Monty sings out over the intercom, "hit the filet" and "lap the credits." Ordinarily, when a job is done, workers immediately pack their kits and make their way into subways and busses. Not so with the performers in The Secret Storm. After a 15- minute break, the cast of tomorrow's episode sits clown in a drafty rehearsal hall to read through the upcoming episode. It is indeed a "new day'' starting at 4:45 p.m., a day that ultimately ends at 6.45. In doing daytime television serials one should avoid condescension, Francisco told Sponsor. Remember, he said, "we have to take more care in keeping the people and situations real because they exist on a day -by -day basis." "In nighttime television, most of the heroes are people who travel and therefore can move from new adventure to new adventure," he continued. "Or, they are people whose occupations bring them a new situation and a new set of characters each week. Because in nighttime programs you are only seeing them once a week and because, in almost every' case, the story is more important than the characters, you don't have to deal with character background or motivation in the detail that the daily viewer expects and should be given." The consensus is that the daytime television serial is here to stay and that it has indeed "made a frontal assault on Mrs. America's imagination." Rut, above all, the daytime serial has proven one of the advertiser's most effective means of reaching his best customers, ac- cording to both Winsor and CBS TV executives. The next move they predict, will be the evening hour serial clone with the same rare adult skill. And sponsored, naturally.

In light of Courtney and Stuart's relationship, it's interesting to watch the dynamic between the two.

Another radio role for House Jameson Aunt Jenny 1956