Paul Raven

Variety reported that in August 68 that Lydia would be taking over full time as Maggie after filling in,so she should appear earlier.

Joan Harvey was called in to replace an ailing Teal Ames as Sara on Edge of Night but refused.

This show is really so far ahead in attitudes for the time - in fact more so than today's soaps. Althea is treating her pregnancy and miscarriage in a calm rational manner.No wailing or pity party,or trying to trap a man. She doesn't even have her daughter with her (neither does Maggie? Where is Greta?) Yet she is not painted as a neglectful or bad mother. Then we have a disabled character whose disability is not the focus - he is even allowed to be an unsympathetic character. Was Rita Lakin given free reign with the network and C/P supportive?

IMO,something about James Noble's acting brings an underlying weakness to his characters.Of course I've only seen him on TD and Benson. I can imagine his Don Hughes was the same on ATWT but have no idea about his character on A World Apart. Hope Memorial seems to operate with no patients or visitors.We mostly see staff roaming the tiny corridors and going in and out of that elevator. Interesting how formal everyone is eg talking about Carolee as Miss Simpson. At first it looked like the extra in the opening clip was on a cell phone until I realized it was a portable radio!

By June 78, Mary Ellen Dante was long gone. By this time,Mark Dante was involved with Katie Corbin (Maggie Sullivan)

It's so cool that TD has a cast list at the end of the episode - very helpful for us trivia buffs. George L Smith was credited as policeman.Later he became Det Cadman a regular who dated Martha. I'm not sure when Ernie came on and am wondering if this was the beginning of the role -rather like Carolee Campbell appearing as an under five and evolving into a regular. They splurged on the budget with these episodes-more extras,a TV, wind machine! Guess Pam Toll was just lying down and the angle made it appear she was hanging on for dear life.

1973 Cast & Credits Jada Rowland as Amy Kincaid Lori March as Valerie Northcoat Marla Adams as Belle Kincaid Alexander Scourby as Dr. Ian Northcoat Bernard Barrow as Dan Kincaid David Ackroyd as Kevin Kincaid Ellen Barber as Joanna Morrison Stephanie Braxton as Lauri Stevens Reddin Eleanor Phillips as Grace Tyrell Judy Safran as Lisa Britton Audre Johnston as Martha Ann Roberta Royse as Freddy Susan Sudert as Charlotte David Gale as Mark Reddin Jamie Grover as Clay Stevens Dan Hamilton as Robert Landers Sydney Walker as Mons. Quinn Richard Brenda as Dr. Markel Sue Ann Gilfillan as Mrs. Post Gary Sandy as Stace Reddin Hugh Hurd as Isaac CREDITS: Producer: Joseph D. Manetta Associate Producer: Jerry Evans Writer: Gillian Houghton Directors: Joe Scanlon, Robert Myhrum Associate Director: Andy St. Laurent Production Assistant: Susan Orlikoff Production Secretary: Marie Wagner

1970 cast list from Daytime TV Yearbook Julie Adams as Denise Wilton Rachel Ames as Audry Hardy John Beradino as Dr. Steve Hardy Sharon DeBord as Sharon Pinkham Peter Hansen as Lee Baldwin Shelby Hiatt as Jane Dawson Ray Girardin as Howie Dawson Phyllis Hill as Mrs. Dawson Craig Heubing as Peter Taylor Peter Kilman as Dr. Henry Pinkham Elizabeth MacRae as Nurse Meg Baldwin Emily McLaughlin as Nurse Jessie Brewer Paul Savior as Tom Baldwin Lucille Wall as Lucille March Nancy Fisher as Carol Martin West as Phil Brewer

1970 cast list from Daytime TV Yearbook Lydia Bruce as Dr. M. Powers Peter Burnell as Michael Powers Carolee Campbell as Miss Simpson Zaida Coles as Anna Ford C.C. Courtney as Jody Lee Bronson Jami Fields as Penny Davis Gerald Gordon as Dr. Nick Bellini Sally Gracie as Martha Allen David O'Brien as Dr. Steve Aldrich James Pritchett as Dr. Matt Powers Greta Rae as Ginny Frances Sternhagen as Phyllis Corrigan Robert Salvio as Gary Corrigan

Nick Benedict was shocked to be dropped as Phil.Soon after he was cast on Y&R, along with Meg Bennett.It was unusual for Y&R to cast'name' actors at that time but they were going to an hour and obviously wanted familiar faces to draw in an audience to new characters. The killing off of Phil seemed to be a part of a conscious decision by AMC to move into a new era. Tara was quickly married to Jim and written out.Ann Tyler Martin was killed off.Linc and Kelly were written and Paul wasn't given a lot to do over the next few years. The decision was made to rewrite Jeff Martin as Cliff Warner and the focus moved to Cliff/Palmer/Nina/Sybil etc and move away from the Martins and Tylers as the prime characters.

Sally Gracie stayed for another 10 years and then moved to OLTL for 6 years as Ina Hopkins. She also appeared on Portia Faces Life and AMC. She was married in the 1950's to actor Rod Steiger. She died in 2000 at age 80. Joel Fabiani would move to the UK to film the cult series Department S in 68.I have seen him listed in TD cast lists but always assumed it was from the anthology days.He was on Dark Shadows later appeared on AMC,The City,GL (as Roger Thorpe)

Maitland Ward ex Jessica B&B at the Hollywood Hotness Costume Party last Saturday

Joan Harvey directed some documentaries in the early 80's but that seems to be it for her. Edge should have brought back Judy at some point. Her father Bill was on the show for years.Was Judy ever mentioned?

I guess the problem with Splendored Thing is that like Password before it,it lost too much of the As The World Turns lead in. Days of Our Lives had proven to be tough competition.So eventually P&G pressured to have all its soaps in one block.

Nielsen Ratings: Week of November 3-November 7, 1969 1. As the World Turns CBS 12.9/44 2. The Edge of Night CBS 10.3/37 3. Another World NBC 9.7/34 *. Search for Tomorrow CBS 9.7/39 5. The Guiding Light CBS 9.3/34 6. Love Is a Many Splendored Thing CBS 8.9/31 7. The Secret Storm CBS 8.5/30 8. Days of Our Lives NBC 8.4/29 *. The Doctors NBC 8.4/31 10. Love of Life CBS 8.2/37 11. General Hospital ABC 8.1/28 12. Dark Shadows ABC 7.3/25 13. Where the Heart Is CBS 6.9/29 14. One Life to Live ABC 6.7/24 15. Bright Promise NBC 4.9/18

Interesting article.I'll look out for these actors in the reruns.

AS GLORIA MONTY'S WORLD TURNS By GEORGIA DULLEA, Special to the New York Times Published: July 11, 1986 HOLLYWOOD— Join us now for another episode of ''General Hospital.'' You'll recall that this was one sickly soap opera eight years ago when a new executive producer, Gloria Monty, appeared to perform theatrical triage - splashy sets, younger faces, sexier scenes, lots of technological flash and dash. A year later G.H., as they call it in the industry, was the country's top-rated daytime soap and ABC-TV's biggest moneymaker. As our story opens, Miss Monty, who was the model for the motherly producer in the film ''Tootsie,'' has been called in to help cure ABC's ailing prime-time ratings. In an age when networks rarely make long-term commitments, Gloria Monty Productions has a commitment from ABC for 10 hours of prime-time ''on-air'' programming -meaning that whatever she makes must be aired - plus a deal with 20th Century-Fox Television to develop and co-produce the programs. ''Because I've been so successful in serials, they feel that I can be very successful in series,'' says Miss Monty, a tiny, soft-spoken women in her early 60's. ''It's a move I've been trying to make for the last four years, and each time they said give us one more year at 'General Hospital.' '' A Working Lunch for 30 It is 4:30 P.M., below ground in the old Columbia studios off Sunset Boulevard. Miss Monty has spent the morning in meetings, dashing through a maze of corridors, past wardrobe, makeup and dressing rooms, trailed by figures with clipboards. After a working lunch with 30 key staff members, she paused to consider a new set design, rejected it, then called out, ''I'm going upstairs, kids!'' Up in the control room, she watched a dress rehearsal, dictating actors' notes (''Make sure she's spritzed'') and occasionally stopping the action to walk onto the set. ''That wall bothers me,'' she said at one point. The wall was repainted. The show is being taped now. On the floor below, the face of Jacklyn Zeman, who plays the nurse Bobbie Spencer, who is trying to live down her past as a prostitute, appears on scores of television monitors. Her face is ''spritzed'' to suggest perspiration, as she says: ''I suppose you've heard by now I goofed, or came close to it, in O.R. I lost count of the sponges.'' The episode will be aired next Thursday. Sometime later this year, Tristan Rogers, who has been away from his role as Robert Scorpio for some time, will return briefly to Port Charles, the hometown of ''General Hospital.'' Miss Monty is on her office telephone saying, ''Oh, brother! Oh, brother!'' An actress in a minor part has walked out on her contract. Miss Monty tells her secretary to have the character excised from the next week's scripts (''Flag it, sweetheart''). She tells a publicity agent how to slant the press release (''Otherwise it's going to be twisted''). She sighs and says she will not miss the daily intrigue of the soaps. ''They steal our story ideas,'' she says of her competitors. ''I've been told that when I accept an outline, it's in one of the other offices that evening. I've given up trying to secure the story line, although I will spread a false rumor.'' She complains of the routine of doing five one-hour shows a week, 52 weeks a year. As a consultant on G.H. next year, she will be spared this. ''No one wants to to work this hard,'' she says. ''The vessel gets empty after a while. Part of it was we made history by making the show No. 1, and then we kept it up there for all those years and that was tough.'' In the process Gloria Monty has become one of the most highly respected, highly paid and, some say, highly feared figures in daytime television. Hers is one of the most carefully constructed public personas in the industry - ''Santa Claus in skirts,'' said one industry observer, adding that she is not always so open and giving. Miss Monty's policy is ''never to disclose salary,'' although she is said to make upward of $2 million a year on the soap opera alone. Her innovations - the use of quick cuts, many scenes, fast plot twists and antiheroes such as Luke Spencer, played by Anthony Geary - are widely credited with changing the face of daytime soaps while paving the way for such nighttime shows as ''Dynasty.'' Some add, however, that the credit should be shared with Jacqueline Smith, who was vice president of daytime programming at ABC in 1979 when Miss Monty checked into G.H. Her entrance into the world of television was in the early 1950's, after five years of directing summer stock on Long Island at a theater and workshop owned by her husband, Robert O'Byrne. ''We did about 50 plays and attracted the New York critics, but our money ran out,'' she recalled. The technology baffled her at first: ''All those cameras and cables, so different from the theater. It was six months before it suddenly occurred to me that the camera was the audience. Once I realized that I could find my way dramatically.'' Finding her way as a woman in an industry dominated by men was harder. While working for CBS, where she directed a pilot of ''Secret Storm,'' Miss Monty hired a woman as assistant director. This would never do, she was told. With two female voices on the earphones, how could anyone tell them apart? Miss Monty remembers pondering this question for a minute until the answer dawned: ''Nobody has any trouble telling the difference between two male voices.'' Not that feminists have always been pleased with G.H.'s treatment of women. When Luke raped Laura and then married her in 1981, landing the show on the cover of Newsweek magazine, Miss Monty was accused of glorifying violence against women. She replied that the rape was really ''choreographed seduction.'' Back on the set, no complaints are voiced about Miss Monty. Her young actors call her ''Mother.'' The stagehands have made her an honorary member of their union. ''Gloria's a taskmaster,'' Jerry Balme, a coordinating producer, says fondly. ''She demands excellence, but she rewards it.'' And James E. Reilly, one of the writers, adds: ''Gloria gets the best out of the best. You don't mind working hard because, one, she charms you and, two, you see the results on the screen.'' Even the competition praises Gloria Monty. Joe Willmore, a coordinating producer at G.H. until May, when he became executive producer of ''The Guiding Light,'' a CBS soap in the same time slot, says, ''She's a rare person who has both the energy and the ability to focus with great intensity on whatever she's doing.'' She does not tolerate disloyalty, however, particularly from once-obscure actors she has made into box-office attractions. ''I remember one actor who wanted to leave the show for bigger things,'' Mr. Willmore said. ''Gloria felt the show had a strong investment in him. She was so angered she picked up a pencil, snapped it and said, 'I made them and I can break them.' ''

Lovely article about Ann Williams by her daughter.I decided to post it here as SFT was her longest running role. Soaps of Our Lives By LIZ WELCH Published: December 12, 2009 MY mother financed porn films and married a cult leader. She was also a doctor. And a hopeless alcoholic. Courtesy of the Welch Family Ann Williams as Eunice Wyatt on “Search for Tomorrow.” Courtesy of the Welch family Ann Williams at 29. She was a soap opera actress. In the early ’60s, my mother was cast as Erica Brandt on “Young Dr. Malone,” one of the first televised soap operas to be produced by Procter & Gamble. Last week, “As the World Turns,” the last Procter & Gamble-owned soap, was canceled after a 54-year run. It is the end of an era. My mother — Ann Williams to her fans, Mrs. Welch to my teachers and friends — did not live to see this. She died of cancer 24 years ago today, leaving my three siblings and me orphans (our father had been killed in a car crash in 1982). I was 16, Amanda 20, Dan 14 and Diana 8. Amanda moved to Brooklyn to live on her own, and the rest of us were split up to live with different families in our hometown, Bedford, N.Y. Still, that story line paled in comparison to my mother’s daytime roles, and deaths. She rose to fame as the original Dr. Maggie Fielding on “The Doctors” in 1964, leaving the show to give birth to Amanda in 1965. When she conceived me in 1968, her pregnancy was written into her role as Eunice Wyatt on “Search for Tomorrow,” another Procter & Gamble production. She played Eunice for 10 years until Morgan Fairchild, in one of her first TV roles, as Jennifer Pace, shot Eunice in the back during a schizophrenic fit. Jennifer held the gun, hearing voices; Eunice whimpered, trying to reason with her psychotic murderess. Though I was only 7 when Eunice was killed, I remember receiving a big box from Procter & Gamble every Christmas, filled with soaps and hair products. Mom’s next role lasted from 1978 to 1980, on yet another Procter & Gamble-sponsored soap, “The Edge of Night.” Margo Huntington was the most successful businesswoman in all of Monticello. She owned the local TV station, wore fur coats and painted her long fingernails a bloody red. Margo was my favorite, nothing like Mom, who made me cringe with embarrassment whenever she wore her earth-toned velour tracksuits and clogs to the grocery store. Margo’s shady business deals led her into financing pornography; her unrequited love for a married man led her into a marriage-cum-business arrangement with Eliot Dorn, a former cult leader, in the hopes it would make her true love jealous. That backfired — Margo instead was bludgeoned with a fire poker by one of Eliot’s love interests, who also happened to be her maid. Cut to a commercial. In our real life, Mom was married to Robert Daniel Peter Welch, an investment banker who died in a mysterious car crash two years after Margo’s fictional demise. At the time of his death, our father was $1.2 million in debt, unbeknownst to my out-of-work 46-year-old mother. Collection notices replaced condolence cards and then, exactly one month after his death, Mom was given a diagnosis of terminal cancer. That summer she got a radical hysterectomy and put our three-story, five-bedroom house on the market. We moved into the caretaker’s two-room cottage, which Mom had wisely kept, along with the remaining seven acres of land. When she started radiation therapy, we were scared. When she was cast as June Slater on the ABC drama “Loving,” we celebrated. June had a drinking problem, which was hilarious because Mom was a lightweight: one glass of Dubonnet Blonde made her nose fall asleep. On “Loving,” June liked Scotch (which was actually apple juice) and was married to Garth Slater, a college dean who kept her drunk so he could sneak into their teenage daughter’s bedroom at night. I was 14 that summer and spent one week at a volleyball camp. Practice started one morning with a journal writing exercise. I wrote about my mom’s new job and storyline. That afternoon, I was called into the camp director’s office, where four very concerned-looking adults were waiting for me. At first, I thought it had something to do with my reluctance to try an overhead serve. Then, my coach said, “Liz, tell us about your father.” I was confused. “What about him?” I asked. A stern-looking woman spoke next: “It’s O.K., you’re safe here. We read your journal.” I suddenly understood and burst out laughing: “Oh, no! That’s my mom’s husband on TV! My real father is dead! He died in a car accident last year!” The adults let out a collective sigh of relief. Everyone smiled. “All right-y then,” the camp director said. And I was sent back to practice. That was the magic of soap operas in their heyday. They exorcised people’s feelings about whatever ills plagued them in their own lives. Today, though, people don’t need soaps for that. And we certainly don’t need actors to play these sometimes scary and often sensationalized roles. Real people get to play those, in news stories that are horrendous, stupendous and almost impossible to believe. Talk shows, reality shows, cable news do for us what radio serials and soap operas once did: They make us feel better about our own dramas. When my mother was very ill and undergoing chemotherapy, she played her final role, a blind woman on “Guiding Light.” She wore a wig and sat in a wheelchair — a Method actor to the end, she argued that it worked for her character. The truth was, she was bald from chemo and too weak to walk. But she needed the union hours to be eligible for her health insurance. Several months later, she died at home. “Guiding Light” continued for two decades more, broadcasting its last episode on Sept. 18 — a 72-year run. The death of “As the World Turns” is the final nail in the coffin of soap operas as my mother knew them. I just wish she were around to mourn them with me. Liz Welch is the co-author with her sister Diana Welch of a memoir, “The Kids Are All Right.”

Larry Weber did indeed play Barney on TD. He appeared on just about every NY soap from the 50's to the 80's,yet seems relatively unknown to most viewers.He would have had many stories to tell,I'm sure.

Louise Shaffer as she appeared as Emily on SFT

Joan Copeland,Jennifer Harmon and Steve Elmore

House Jameson

Have never seen this pic of Mickey and Laura on their wedding day. Is this Bill with the Bannings?

Gloria Monty on the set with Miss Joan Crawford This when Lynne Adams was playing Amy and Eleanor Phelps was Grace,along with Lori March and Judy Lewis