Paul Raven

Not a serial per se,but no doubt with soapy elements was 'Doctor's Private Lives' which aired on ABC,first as a TV movie (March 78) and then with a limited run 4 episode tryout series (April 78) on ABC Dealing with personal and professional lives of a group of doctors,the cast was loaded with soap people. John Gavin was the lead in his TV series debut (husband of Constance Towers) Donna Mills was in the TV movie only. Ed Nelson (CAP,PP) Randolph Powell (DAL,DOOL) and Phil Levien (DOOL) were series regulars In the TV movie were : Bettye Ackerman (PTPP) Leigh McCloskey (DALL,GH.SB.Y&R) Robin Mattson (GH,SB,AMC etc) Elinor Donahue (DOOL) Fawne Harriman (SOM) John Lupton (DOOL) Kim Hamilton (DOOL,GH) Ross Eliot (GH) Margarita Cordova(SB) John Randolph (EON) Anne Marie Martin (DOOL) William Smithers (PP, GL.DAL)

Some more info on Modern Romances The week that featured singer Betty Johnson performing'I Dreamed' had Margaret Phillips as lead and was entitled 'Benefit Performance'.The song was featured daily. Kathi Norris was hostess for 3 weeks while Martha Scott was on vacation in Oct 56 April 22 1957 - Singer Jim Lowe appears in'Talking to the Blues' acting and performing 'Four Walls' and the title song.

Modern Romances week of Nov 15th 1955 featured a story about a young songwriter's efforts to get a tune recorded. A young Connie Francis appeared as part of that storyline. In May 56 Connie's latest single 'Forgetting'was featured and she performed it May 14th. Betty Kean and real life husband Lou Parker play husband and wife Oct 57 William Prince appeared week of March 4th 57 as did Don Briggs Neil Hamilton week of April 1st 57 Pamela Fitzmaurice appeared week of Dec 17 56 At the time also appearing on NBC's Meet Mr Wizard Sallie Brophy week of Jan 21st 57 Daryl Grimes week of Aug 20 56

Pat Woodell,who played Barbara Jenkins on BP in 1969 and was also the original Bobbie Jo Bradley on Petticoat Junction has died,aged 71.

June 57 12.30 - 1.00 pm SFT/GL 9.3 average CBS It Could Be You 6.8 NBC 4.45- 5.00 pm Modern Romances NBC 6.5 Second half of Edge Of Night CBS 7.3

Colgate Palmolive were sole sponsors on MR and when they dropped sponsorship in May 56,Variety reported it was likely to be axed Movie actress Signe Hasso appeared on Modern Romances week of March 7th 1956 Marian Russell one of the leads week of August 17th 1955 Fran Spanier lead week of March 14th 1956 Fran Carlon on the week of August 15th 1956 Stuart German week of April 2nd 1956 James Millhollen week of April 9th 1956 Gene Sultan Week of May 30th 1956 Singer Betty Johnson appeared week of October 22nd in her first acting role plugging new song 'I Dreamed' Joe Mantell lead week of Feb 8th 1956 Ronald Dawson appeared Fri Sept 23 Jimsey Somers and Jeffrey Harris leads week of Patricia Bosworth July 56 Leslie Barrett Thurs Sept 26 1957 Barbara Joyce June 57 Betty Sue Albert March 57

The recast and writing for Althea has been meet with a lot of negativity.Not really for Virginia Vestoff but rather the material she was given to play,which destroyed the Nick/Althea pairing.

The debut ratings for Gloria Monty's 'The Hampton's' summer replacement soap. Hamptons ABC 13.8/25 Facts of Life/Buffalo Bill NBC 13.5/24 Ordeal of Dr Mudd CBS 9.0/17

How B &B keeps a sharp `Edge' for Procter & GambleErwin W. (Nick) Nicholson is a vice president of Benton & Bowles and producer of the CBS -TV series, Edge of Night, a show produced by B &B for Procter & Gamble. Before joining CBS -TV as a studio- audience usher in 1954, Mr. Nicholson was a schoolteacher in Buffalo, N.Y. At CBS -TV, he eventually be- came a director. He joined B &B in 1966 as a producer of Edge of Night. Judging from recent events, keeping personal tapes around would be potentially dangerous. With this in mind, I recently listened to some of my own taped notes, dictated into my home recorder at odd hours of the day and night, and concluded that if they should inadvertently fall into the wrong hands, I could be in big trouble. A random sample disclosed that as re- cently as two months ago, I sensed the need to insure the silence of Babs Micelli, who clearly knew too much about the present situation. Speaking into the mike in quiet and measured tones, I explored various alternative methods of keeping her quiet, and with evident reluctance concluded she had to die. I didn't want her to die. I knew I would miss her terribly and that other people would also. We had all grown fond of her, but it was simply a question of survival. Either she died or the whole damnable story would come out. There was a short gap in the tape at that point (I believe I may have inadvertently erased a short portion of the tape, or possibly it was a malfunction of the machine). Whatever the reason, the next audio indicated that I had overcome my qualms and was ready to recommend to my associates that Babs be shot. Other random samplings disclosed that in June of last year, I clearly stated that Jake Berman would have to die, that there was no other alternative. Were these the rantings of a homicidal maniac? No, merely part of the job of producing a daytime drama. They are verbal memoranda either for me to remember or something to discuss with our writer. But what would have happened had these tapes fallen into the wrong hands? I might have had to do some fast explaining. The daytime serial. How did it all start? Why did it start? There was a need, a long time ago, back in the early days of radio, in those days of the audio experi- ence. The woman stayed at home. Her life was full, but often drab. Radio was that magic carpet ride out of the kitchen or laundry room into a world of make - believe. It was that moment of pathos or a heartwarming grin at life that almost certainly saved the day for many during the grim, early thirties. But it didn't stop there. It went on into the forties, through the transition from radio to television, and daytime serials are very much a part of the scene today. What about this form of drama that has survived wars, social change, political upheavals and the rating game for nearly half a century? People continue to faithfully follow them because the basic needs have not changed -other things perhaps, but not the basic needs. Call it escapism, call it therapy, call it anything you like, but daytime serials fulfill a very vital function in the American lifestyle. In radio days, they were called soap operas. Today, we in the field choose to call them daytime dramas or daytime serials. I think we have earned that right by virtue of the increasingly mature level of writing and production employed. As producer of The Edge Of Night, which premiered with its sister show, As The World Turns, on April 2, 1956, I have been able to observe first -hand how daytime dramas have grown up with everything else. 1 .might note here that Edge and World were television's first half -hour daytime serials, a bold concept in its day and one that many programing prophets looked upon as folly. The daring move paid off. To this day both shows are still televised live, still owned by Procter & Gamble (which owns four others), still produced for Procter & Gamble by Benton & Bowles. Why live, when all the other programs have gone to video tape? If you'll permit me to digress for a moment and quote myself from a TV Guide article of several years back: "To me, television was never meant to be a method of rebroadcasting old films. It was supposed to be a medium all its own, and it was intended to be live, as it was in the beginning." I have not changed my thinking. The Edge of Night is as current as today. It is contemporary, pertinent drama, compelling enough to win the show an Emmy in 1973 for outstanding program achievement in daytime drama. P. G. Wodehouse, the 93- year -old Broadcasting Sep 23 1974 12 creator of Jeeves, the butler, says of the writing on Edge: "It's awfully good. The writer has got a rather good system, with four stories going at the same time and linked together so you don't tire of it." Where does it all really begin? In the typewriter of the man of whom Mr. Wodehouse was speaking -Henry Sleasar, head writer, winner of a 1974 Emmy for best writer in daytime television. What does it take to write a successful daytime drama? Well, one thing for sure. it takes a hell of an imagination. Think of it in terms of keeping an open -ended novel going. Let's see, we are up to about page 250,000. Just think, a novel a quarter of a million pages long. Edge is primarily a suspense story based on today's problems. Organized crime, with its tentacles reaching into every walk of life, has moved a major portion of its operation to Monticello. We see how the omnipresent shadow of the mob affects the lives of the people of this mythical community, actually places the lives of some in mortal danger. A "gray market" baby is used as a pawn to pressure the chief of police into doing favors. He is faced with complying or resigning. This becomes a dilemma for the actor playing the role of the chief of police, since he's been doing just that for 16 years. Actors (about 20 in the resident com- pany), directors (two) and design personnel (12) are introduced to the scripts (and there are 260 of them per year) about two weeks before air dates. It is at this moment that the pieces begin tofall into place. Sets are designed and built. Wardrobe is selected. Technical problems are analyzed and solved. Momentum is gained as the individual show reaches its air date. Soon 2:30 p.m. comes and we are on the air. It's over at 3. And by 3:15, we are ready to begin work on the next day's episode. I had occasion recently to say to an actor (and I have tremendous admiration for the daytime actor), "If you can do this you can do anything- legit, stock, films." This is perhaps the most consistently demanding area of the entire industry -for writers, for actors. for directors and for producers. What I'm trying to say is it's not a place for people of weak heart or mind. I showed this "Monday Memo" to a distinguished chef who chooses to re- main anonymous. He came up with what I consider a fitting recipe that I thought I'd share with you: Take 40 pages of lean, meaty dialogue; blend in seven versatile actors; combine these with one seasoned director; place in appropriate scenery; add lighting; simmer for six hours; sprinkle with wardrobe, make -up and hair styling. Serves about six million.

Re Woman With A Past. Geraldine Brooks took over from Mary Sinclair in May 54.

Variety mentions Trask as joining the show in the Feb 10 1954 issue and in their review of the show on Feb 3 lists him in the cast . So maybe he was Jerry for only a few episodes in the premiere week? Then Robert Morse took over?

More to keep u busy! Jane McArthur (Nancy Hewlett) began in July 1959 not 60,according to Variety. Judy Lewis took over as Susan in Jan 65 again according to Variety but maybe was onscreen in 64. Konrad Matthei (Casey Arnold) was on in Sept 65 Also David O'Brien and Bibi Besch are listed as debuting in Oct 64. Variety stes Marian Carr returning to SS in Nov 62 Jay Barney as a police lieutenant in August 63 Also listed as appearing June 62 (same role?) Diana Maldauer (Ann Wicker) in Dec 64 Ben Piazza in as of Nov 65 Stanley Brock as a jailer July 70 Lou Steele back into SS Sept 68 Kathleen McGuire June 66 Cliif De Young in 72 (not 70) Joe Ponazecki in April 72

Also Richard (Dick) Trask was the original Jerry Ames.

Jason 47 has posted 1981 Days bios. Lanna Saunders is listed as having appeared on Secret Storm. Barbara Joyce was on SS for 8 months.

Adam Lazarre White (Nathan Y&R) in the theatrical thriller 'The Gift. It's a fairly major part.

Re Somerset Variety mentions William Hunt as still on the show in Jan 75

From Variety Never Too Young...Madge Cleveland Norman Palmer Morning Star...Barry Russo Paradise Bay...Bernie Thomas

June 64 3pm timeslot To Tell The Truth on CBS led the way with GH on ABC second with a 9.2 rating and month old AW on NBC long behind with a 2.8 (lowest rating daytime show)

Variety has Margaret Hamilton into Secret Storm in October 63.

In addition to appearing in the late 50's on Secret Storm,Roy Poole was on in 1973. Poole is one of those actors who turned up on every NY soap for years.

October 72 4.00pm NBC Somerset 7.1 ABC Love American Style 6.0 CBS Family Affair 4.3

Yes ,sometime in 1970,The Pollocks begin their stint as headwriters. Here's how the ratings looked around the time of TD eps we are seeing on Retro. Nielsen Ratings: Week of November 3-November 7, 19691. As the World Turns CBS 12.9/442. The Edge of Night CBS 10.3/373. Another World NBC 9.7/34*. Search for Tomorrow CBS 9.7/395. The Guiding Light CBS 9.3/346. Love Is a Many Splendored Thing CBS 8.9/317. The Secret Storm CBS 8.5/308. Days of Our Lives NBC 8.4/29*. The Doctors NBC 8.4/3110. Love of Life CBS 8.2/3711. General Hospital ABC 8.1/2812. Dark Shadows ABC 7.3/2513. Where the Heart Is CBS 6.9/2914. One Life to Live ABC 6.7/2415. Bright Promise NBC 4.9/18At this point the afternoon schedule was 1.30 ATWT/Lets Make A Deal/You're Putting Me On 2.00 LIAMST/Dating Game/DOOL 2,30 TGL/Newlywed Game/DRS 3.00 SS/OLTL/AW 3.30 EON/GH/BP

I.ve combed through The Doctors lists but haven't seen Roger Woodson listed,Variety has him joining the cast in Dec 72. Also,Betsy Von Furstenburg appeared on LIAMST in July 1972 May 72 Variety reported Robert Symonds for WTHI

Edelstein was co headwriter with Rita Lakin for about a year and then solo for afew more months.I wonder what the circumstances were that saw him leave? The ratings did dip slightly in 69 so that may have been a motivation or a myriad of other possibilities. Ira Avery with wife Jane had written Secret Storm for several years and the LIAMST until mid 68.They then divorced I think so this was Ira's first stint working alone.We'll see when Stanley Silverman joins him and how long into 1970 they last before the Pollocks arrive. \

Those summaries really flesh out the storyline,detailing things like Rachel v the Matthews over the trust fund etc. One thing that often goes unmentioned is Robert Cenedella's contribution.Although Agnes created the characters of Steve and Rachel and fleshed out Alice as well as setting up the triangle,Cenedella wrote the show from 68 to 71 so most of what has been detailed is his work.I've seen comments that say he was merely working from outlines Agnes left behind but I find it hard to believe that he did not make a major contribution to the success of the story. Reading over it,I think that with a few tweaks this story could be told today.