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Patrick Hogan:
A Real Actor and a Fake Psychiatrist

Afternoon TV Magazine, July 1971
by Sidney London


If Patrick Hogan hadn't gone to St. Mary's Hospital in London, then he might have grown up to be just like mom and dad and sister and brother. They're all real doctors. Which is to say, Pat isn't. He's a real actor and a fake psychiatrist.

Since last November, Pat has been seen in living color as a shrink named John Morrison, a medical head hunter who's now trying to help Greta Powers over her difficulties in The Doctors. An ironic twist of fate, that being on The Doctors. Because if things had gone according to script (as written by his father several years ago), he would now be a proper British physician somewhere in Nottingham, England.

"My parents made the disastrous mistake of sending me to St. Mary's," said Pat. "For one thing, I was miles away from parental influence. And then, of course, London can be a very distracting town. Actually, what I really wanted to do was take advantage of a scholarship to the Royal Academy of Music. But that was a decision I wasn't allowed to make."

"So I went to St. Mary's and studied medicine for five years. Long enough, in fact, to be just months away from my final exams and a medical degree. But that's when I decided to break out. It was quite sudden; I just realized that doctoring wasn't for me."

"How did my father take it? He was taken aback, of course. But he was pretty good about it when the crunch came."

Nor was that a completely surprising reaction. The father was, according to the son, a man who could appreciate and understand rebellion. After all, he was Irish.

"As a child, I didn't know what I was", said Pat. "Being born in Nottingham, I was a British subject. But my parents were Irish. Of the two, I prefer the Irish. There's a certain excitement about being rebellious toward the establishment."

In 1958, after spending several seasons at the Old Vic and touring Australia in The Reluctant Debutante, Pat came to America, which is a great place for revolution these days. He views the recent national upheavals with Irish wit and British conservation.

"The question of who's right or wrong is only answered after the revolutions," he said. "During the American Revolution the rebels were scorned and vilified. But after it was over, they were proclaimed as heroes.

"Now we have a revolution that's quite different. But it's very difficult to pick and choose between the factions unless you know who's going to win. I will say, however, that I can't quite understand how people can, with one hand, commit the most diabolical evils, and with the other, try and explain it away. It's a bewildering duality, as if you can correct anything by simply saying, 'no, that's not what I meant.'"

A naturalized American ("I'm sure I could come up with things once an hour that I like about this country"), Pat till retains the manner, precise speech and identifiable accent of the proper Englishman. And even the accouterments that go with it. Dressed in suit and vest, he sucked on the end of a pipe that billowed clouds of smoke to the blue ceiling of his east side New York apartment.

Tall, handsome and impeccably groomed, Pat is the perfect image of the courtly gentleman. A versatile athlete, he skis, sails, rides and fences, once almost demonstrating his epee skill when The Beverly Hillbillies thought about, then shelved, a program situation calling for a sword-wielding European prince.


In the 12 years he has been in the United States, Pat has compiled a long list of credits, cutting across all areas of show business. His resume includes Broadway ~ Redhead, The Devil's Advocate, The Importantce of Being Earnest, Baker Street; movies ~ Portrait in Smoke, The Dark Avenger, The Thomas Crown Affair; primetime television ~ Mission Impossible, High Chaparral, Star Trek, Green Acres, The Young Rebels and The Interns.

Despite that background, Pat is not one of those actors whose names ensures full houses on Broadway and in motion picture theatres. Nor does it disturb him that he has not yet achieved the Hollywood definition of stardom.

"When you start out as an actor," he said, "the jackpot feeling is very common. But as you go along in the profession, you come to realize that all you want to be is a good actor. I don't think that's a cop out for stardom. It's a matter of being contented. And contentment comes from working constantly and knowing what you're doing is good."

Besides his work on The Doctors, Pat also gets satisfaction out of recording books for The American Foundation for the Blind. The records are sent to the Library of Congress which in turn releases them to libraries throughout the country.

"I've recorded Pepys' Diary, Paradise Lost, The French Lieutenant's Woman and a book on the Italian Renaissance that ran 36 sides. I also did all the parts in Oedipus Rex. But it was rather difficult dramatizing the Greek chorus. You have to make yourself sound like a lot of people."

Up until last year, Pat was rarely cast in medical roles. Then suddenly, there was a rash of them. He played Dr. Astrov in Uncle Vanya, appeared as a surgeon in The Interns and then moved into his regular running TV character of physchiatrist John Morrison.

Although Pat minimizes the importance that his medical training has had on his acting career, there have been moments when it has come in handy. Just recently, in fact, when he became head of The Doctors' TV hospital after his predecessor was felled by a dread, unpronounceable disease.

"In that instance," said Pat, "all those years at St. Mary's proved worthwhile. Because it meant that I could say Syringomyelia without worrying about it.

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Bernard Barrow (Johnny) from when he was on Loving

 

 


Bernard Barrow:
Big Daddy

Soap Opera Weekly, September 3, 1991
by John A. Penzotti

Although I've been interviewing soap opera actors for years, I've never been as nervous about spending an afternoon with anyone as I was when I met Bernie Barrow, this year's Emmy winner for Outstanding Actor in a Supporting role for his portrayal of Louie Slavinsky on Loving. But on the way to meet him I came to this conclusion: Barrow is a veteran and a pro, and well-equipped to field whatever I might throw at him.

Still, I waited before I asked him about his toupee. Being a member of the Thinning Follicle Society myself, I wondered if it was necessary to his career or just a personal decision, especially since Johnny Ryan, Barrow's beloved Ryan's Hope character, wore one, and Louie does not. "I became balding (in my late 20's) and then bald by my early 30's," he explains, without a hint of annoyance. "I started wearing a piece for commercials in the 70's. It started as a small patch of hair and every three years or so, the hair pieces became fuller and fuller. In the 60's and 70's, commercials demanded hair. Fathers had hair."

To him it was a tool of the trade. But if he was going to wear a piece, he wanted a good one. "I went through four or five. Joe Paris, who makes Frank Sinatra's hairpiece, made mine." Now I know who to call.

"I had heard about the role of Johnny Ryan, but could not get a reading for the show," he continues, since, he says, it was felt he was too ethnic looking for the part. Through a personal friend who was connected with RH, he was able to get a reading, but it was for the part of Dr. Seneca Beaulac. Feeling that the toupee would work well with the characterization of this strong, gentle romantic doctor, he wore it to the screen test.

After he finished his test, Barrow says, he was asked to test for Johnny Ryan, so he removed the hairpiece and read for the part. Later, he would be offered his choice of the two roles. Taking the show's title into consideration, he chose Johnny Ryan (John Gabriel was cast as Seneca). "I showed up the first day, and after rehearsal they asked me, 'Where's the hairpiece that you had on during the screen test?'" he recalls. "They were referring to the test for Seneca. I said, "I wasn't wearing a hairpiece." They said, 'Yes you were.'" He phoned his wife, Joan Kaye, who brought him the piece, and Johnny Ryan was born - with a full head of hair.

When he joined Loving in the summer of 1990, Barrow and head writer Millee Taggart, who created the role of Louie, agreed that the hairpiece was not essential. "They wanted a strong, upfront, masculine kind of guy, which I equate with sexy," says Barrow. "They wanted to create middle-age romance between a guy who loved life, and somebody like Kate (Rescott, actress Nada Rowand), who needed a lift."

Louie, says Barrow, appreciates Kate for who she is. "I love the idea of playing blue-collar men," he continues. "My father and mother were both Russian immigrants. My father ran a laundry and my mother worked alongside him."

Blue collar or otherwise, Barrow has always taken on older characters. "At 19, I was playing Jonah Goodman in Irwin Shaw's Gentle People, off Broadway. (Jonah) was an older man - late 50's, early 60's," says Barrow. "So, I'm wearing a pair of my father's old pants, sticking my gut out, walking like him, and I was wonderful. I got a note from my agent; he said, 'how dare you play these roles - you're wonderful, but let the older guys play these roles. Come back in 40 years.'" A somewhat disheartening, if not insulting, comment, especially to a young actor.


Besides tackling roles beyond his years, Barrow had been a college student since age 16. On the heels of the agent's advice, the 19-year-old actor focused on his studies, earning a bachelor's degree in theater history that year, and a master's in business administration at 21. By 22, he was one of the youngest professors at Brooklyn College in New York. His mother even called him "my son the professor who acts." But the actor inside him always seemed to be in conflict with the professor.

The conflict came to a head about 20 years ago. "I was in a weekend encounter group," he explains, "Somebody asked me what I did for a living. I hesitated for a minute, then I said I was an actor. I burst into tears I couldn't control. All my life I had been telling people that I was a teacher who acts."

"Ultimately you are what you love to be, or what gives you the most pleasure," he adds. "I'm proud to be an actor. I enjoy being an actor."

He also enjoys being a husband and father. Barrow and his wife have four children between them (two each from previous marriages), now grown up and on their own. According to Barrow, one of the hardest things "is to tell your children what you really think. (Often) if you tell them what you really think and why, you will in some way wound them, or run the risk of losing some of their love or respect."



To be critical of one's children is not always a good idea," he continues, "because love gets in the way. Given the opportunities - as Johnny Ryan and Louie Slavinsky - to deal in a one-on-one way with a kid who needs to be made aware of what they are doing, or who is maybe going down the wrong path, is somehow satisfying for me. I don't know why. Maybe because it always puts me in a position to be freer than I am as a father in my own life. As though I can do it vicariously as an actor, not as a father." Barrow himself prefers a hands-off approach to child rearing, only occasionally offering opinions or advice. "I think people should make their own mistakes. It's important for kids to know that they can make mistakes, but their parents will still love them."

Barrow has found the current storyline with on-screen son Paul (Joe Breen) a moving experience. (Paul is paralyzed following an injury from an explosion). "One of the hardest things so far is the emotional trauma that Louie has gone through with having his son so severely injured. Trying to find a way to get his son to forgive him for all those things that have happened between them over the years, and realizing that all the mistakes I have made with him may have caused this to happen."

In spite of his reluctance to give advice, Barrow does share these words for theater hopefuls. "I always tell young actors to find a good teacher so they can find out what they're doing right and wrong and have some ammunition or technique for (those days) when they don't feel particularly good or haven't had a lot of sleep, or their co-star has a cold and is complaining."

Winning the Daytime Emmy award helps validate Barrow's work on Loving. But was it Louie's Emmy or did Johnny Ryan have something to do with it? "I don't think the award was given to me for outstanding work in one's lifetime," Barrow says, "because if that were true, Susan Lucci (Erica, All My Children, who's been nominated 12 times) would have one."

Barrow speaks of how his late parents might have felt about their son's victory. Barrow feels that his mother "would have been joyous. She would have said that she was glad that I won for playing a good guy and not a bad guy. When I was doing The Secret Storm, playing Dan Kincaid, she was concerned that I was a bad guy. She didn't like her son doing bad things. I just kept telling her that bad guys have all the fun." But then again, good guys always win in the end.




 

 

 

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Bernard Barrow

Soap Opera Serials Magazine, September 1976

by R. Marian Rose

The French have two words for an actor. One is "acteur", which means that no matter what role the actor plays, he is always himself. The other word is "comedian". That is the best kind of actor. The performer loses his real identity and becomes the character he is portraying. That is precisely why Bernard Barrow, Johnny Ryan of Ryan's Hope, is our Headliner of the Month.

Off-stage, Bernie is nothing like Johnny. He's quiet, shy, loves to play tennis and enjoys his position as Professor at New York 's Brooklyn College. But once Bernie enters the studio, his eyes get that Irish twinkle, he walks with that wonderful light stride and he's pure Johnny Ryan - head of the Ryan clan. He's not only believable in the role - he's superb!

"When the show is over, I just tear up the script, toss it in the wastepaper basket and become Bernie Barrow again. A good comedian gets the thrill of fooling the people 100%. When it is all over, I can go home, play tennis, watch television or talk to the kids at school. That's the fun of it all. That's how I departmentalize my life."

A few years ago, Bernie played Dan Kincaid on Secret Storm, a politician who became involved with the wrong people and went to prison. Bernie was perfect in the role. Then on Edge, he played Ira Paulsen, District Attorney. And, so he was! We must take our hats off to such a performer and acknowledge the fact that all his years of performing and studying have rewarded not only him, but his viewing audience.

When Johnny Ryan walks into the scene hot-tempered and bothered about something, that's truly Johnny Ryan you're seeing. Every action, every stride, everything about the character is completely thought out by Bernie. But, he does admit that the writing for the show is just the best in the business and Bernie knows what's he's talking about! Furthermore, he loves his castmates, in particular his RH wife Helen Gallagher.

So, hats off to Bernard Barrow, an actor in every sense of the word and a fine man off-stage.

Edited by safe
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Sy Thomasoff: Set Designer

Soap Opera Serials Magazine

September 1976

R. Marian Rose

For many years, viewers were fascinated by the wonderful sets used on Dark Shadows. Then, over a year ago, viewers were given the opportunity to watch a set constructed right from scratch when the 'carriage house' on One Life to Live was built. Do you ever sit back and wonder who does all of this and where the furnishings come from? We do, so we talked to Sy Tomashoff, the set designer for Ryan's Hope. He is responsible for all the sets mentioned above.

Those of you who watch Ryan's Hope know that most of the action takes place in an old-fashioned saloon owned by Johnny and Maeve Ryan. How does one come up with an old-fashioned saloon set?

"The bar is meant to be a composite of all the warmest, most nostalgic spots of New York. In particular, I visited The Landmark, Cavanaugh's, The Ginger Man and O'Neals. The bar itself has a solid mahogany top and hand-rubbed finish complete with cigarette burns, compliments of yours truly and the guys who built it and finished the wood. Our bar is graced with a Victorian stove which we bought from Washington, D.C. because of its great old character. Our juke box dates back to the 1930's. It lights up with changing colors, flowing bubbles and plays 78 r.p.m. records. The chandeliers had to be specially made to date the bar to a period when fixtures were electric but had fittings for gas too, just in case the 'new fangled' electricity conked out.

"The leaded glass transoms over windows and doorways were created from our own photographs. The warm, friendly atmosphere is aided by the hanging plants in the windows, the old gum machine, coin games on the wall, community bulletin board and real neon signs in the window. Also, beer actually flows form our beer taps."

"The Ryan parlor and bedrooms are assumed to be upstairs, over the bar. What with the Ryan's coming here from the old country over a generation ago, their lifestyle was not one of luxury but hard work and make do. This suggested to me a type of grandeur that can be achieved only at the Salvation Army. The rooms are typical old New York immigrant style with old wallpaper, dark woodwork, lace curtains, doilies and homespun family photos and plants."

"In contrast to the frugal style sets of the Ryan's, we have those sets inhabited by the Coleridge family. They dwell in luxuriously furnished brownstone apartments where we have 'antiques' handed down from generation to generation."

We asked Sy if he also does all the interior decorating?

"Yes I do. But on that subject I would say that I have always preferred to design with the feeling that a room or a place is not decorated, but grew. Decorated is self-conscious. A room can be tasteful or elegant, as you wish, without the look of the decorator except if the storyline calls for that look. A decorated room, to me, implies a cold and impersonal room where these inhabitants do not project their own personalities. Therefore personal clutter is the keynote to a successful set."

"To close, I would say that the joy of designing Ryan's Hope is that it is actually and truly a story set in New York City and not a fictitious place 'somewhere in Everytown, U.S.A.'"

And, if anybody knows about putting a set together, it's Sy Tomashoff. Just in case you're in New York during the bicentennial year and want to see more of Sy's work, visit the Playland Ice Casino in Rey, New York. Sy was commissioned to turn the Casino into an 18th century ballroom for the bicentennial Ball in September.

It's easy to say that Ryan's Hope has itself one heck of a designer!

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Michael Fairman Became an

Actor Without Even Trying:

"I'm Happier Than I've Ever Been"

Daylight TV Magazine

November 1975

by Ann Wehrer

Big, ruddy, handsome Michael Fairman has done it again. He has been cast as another heavy. The fugitive from Love of Life (ex-Phillip Waterman), who is supposed to be in Switzerland spending $800,000, has been cast as a gangster in the new ABC serial, Ryan's Hope. A Czechoslovakian, Michael plays the part of Nick Szabo, a Hungarian gangster. He says, 'When I'm up for a movie or TV parts, I always get the darker roles. You know, the policeman, the gangster or the steelworker. It's my face!"

"They promised me girlfriends...I've never had one on a show before...and a bodyguard....and I won't make a lot of phone calls. As Waterman, I was on the phone all the time!"

"In this part, I will have a real emotional life. It is a little more like me....but I'm not really bad, I just keep getting these cold, unemotional parts because I'm big and tough-looking."

"Looking as objectively as I can at myself, which is not always easy, there is a certain sensitivity that I have that I don't think goes with the way I look. A lot of people don't see me the way I really am. Face it, if you've got a mug that looks like you are a gangster or whatever, people think you've got to have a personality that is as cliche as the image itself. So I get identified with that."

Listening to him talk, one can't help noticing how gentle his eyes are. Comment on it, he replied, "Yea, but whoever looks at your eyes? Tough guys are good when they are soft underneath. That was Bogart's fantastic quality. That exterior of confidence. He was a steel-like guy, but you knew he could really take care of a woman if he had to."

"I don't think of myself as Bogart but I do admire him. I personally have a very facile emotional life, and don't have to worry about taking on the characteristics of the men I play. It's just curious to me that I get the heavy roles. They're fun to play."

"In Ryan's Hope, I made my debut delivering lines from my hospital bed. Right away, I was into the character. It was putting pressure on one of the doctors because he owed me some money. A good start!"

Michael comes by his rugged energy and devil-may-care attitude naturally. He grew up in Bronx, New York, in a very close-knit hard-working family. He said he had to join the Air Force to get out of the Bronx. He really got out. They sent him on a four-year tour in Japan!

"I loved it there, and that's the time I became interested in the theater - in a roundabout way. I never went to the Japanese theater and I didn't care about the culture. We never had that at home, you know, no books and no time for that."

"I was interested in flying, drinking and women," he said laughingly. "I was having a great time! But at that time in my life, I was drinking an awful lot and started wondering what the heck I was going to do with my life."

Relating the specific incident that completely revamped his lifestyle, Michael said, "one night, after I had been drinking too much, I fell into a hole! I said to myself 'what am I doing in this hole?' That did it!"

"My friend asked me to come to this theater group with him and help build sets. Then they asked me to be in one play and then another play and then another and I finally said, 'this is it!' I nearly fainted the first time I was on stage!"

When Michael came back to the States, he went to New York University to study acting. After that he studied with Uta Hagan and Lee Strasberg. The work started coming in and the rest is history.

Counting college and repertory theater in Milwaukee and Washington and his New York stage work, he has done well over 100 plays. Michael has also appeared in television documentaries and movies. He played Robert E. Lee in the Appointment with Destiny series.

Photography and art are his favorite hobbies. When he was interested in cartooning, he attended The Art Students League in New York to improve his skill at drawing the human figure.

"Sort of dreamily, he said, 'if I get real wealthy, I'll have a house on Long Island, my New York apartment on the Upper West side, and a loft in Soho to play in." (Soho is a district in New York, zoned for loft studios for artists).

"It will take a while. I have an ex-wife and an eight-year-old son to support. They live in New York. It takes money to maintain two households. It is hard right now!"

Ryan's Hope should help Michael realize some of his hopes. He signed a long term contract and whatever happens, he feels terrific about his life.

"At my age now I'm happier than I've ever been! It's not only the work...that's part of it...but it is the fact that I can see and understand more about myself. Life just kinda happens for me from day to day. Just listening, looking and trying to understand it is wonderful!"

 

 

 

Nancy Addison (Jill) from when she was on Guiding Light

Nancy Addison:

Grandma Has Accepted the Change

Afternoon TV Magazine, July 1971

by Sidney London

Every afternoon, grandma rushes to the TV set, flips on the switch and watches her granddaughter Nancy Addison (nee, Altman) perform as Kit Vested on The Guiding Light. Now there's nothing really special about that - except for a large slice of irony. Because some 30 years ago, grandma had a positive fit when her daughter Nancy's mama, lit out for Hollywood and stardom.

"My mother must have been very beautiful," said Nancy, "because everytime I see my uncles, they give me a poke in the ribs and say, 'oh boy. You should have seen your mother as a girl.' Well anyway, my mother ran off to Hollywood when she was 18 and she was all set to sign a movie contract when my grandmother intervened. She sent my grandfather across country on a bus to bring her back. He did, and that was the end of my mother's movie career."

"But things are different now, and I think grandmother has kind of accepted change. To tell the truth, I think she's rather excited that I'm an actress."

Grandma's acceptance, however, was not immediate. Nor, for that matter did Nancy's parents thrill over the idea of an actress daughter. Raised in a comfortable middle-class home in New Jersey, with her brother Richard, destined to become the Assistant Attorney General in Trenton, Nancy soon discovered that her family didn't rate acting very high among the professions.

"When I graduated from high school," she said, "I knew I wanted to become an actor. I told my folks about it and they said, "sit down, we'll discuss it." So we did, and shortly thereafter I was enrolled at a small college in Boston.

"But I couldn't stand it. It seemed that the only thing the girls were interested in was getting married. So I called my parents and pleaded with them to get me out of there. And they said, "come home, we'll discuss it.'"

This time, however the discussions broke in Nancy's favor. Soon after the family negotiation, Nancy was a student at the Stella Adler acting school in New York.

"At first, said Nancy, "My parents thought I considered acting a lark, as something I had to get out of my system. But then they began to realize I was getting serious about it."

So serious, in fact, that after leaving the acting school she toured with The Impossible Years and performed in dinner theatre presentations of Barefoot In The Park and Generation. Nancy further solidified her feelings about acting by marrying actor Don "Bo" Addison.

Although she had long yearned to be an actress, it wasn't until after her graduation from high school that she was able to openly express how she felt about acting. The reason - shyness.

"It's very difficult for me to express Nancy!" she said, "I don't want that many people to know about me. I have a hold on myself and that's nice, because it's safe. On the other hand, because of the way the world is today, I think it might be better if I were more open."

"When I was a kid, I was dying to act in high school plays but I never could because I was afraid to audition. I was just too shy. So I'd sit in the audience and think, 'Oh I know I can do it. I know I can act.' But the fear of getting on stage was overwhelming."

"I remember I used to come home from school, run upstairs and lock myself in my room, Then I'd act out all the parts in front of my bedroom mirror. Sometimes I'd take my brother's recorder and tape my voice."

"And because I couldn't express my feelings, I'd daydream. I would have gotten an A in daydreaming. I'd picture myself in a hundred different places, see myself as all kinds of people. My desire for acting was a like a balloon that kept filling and filling. Then finally, the balloon burst."

Although that was a monumental event in Nancy's life, it was nothing compared to her emotional explosion when she learned last September that she had won the role of Kit on The Guiding Light.

"My agent called me with the news," said Nancy, "and I'm sure she thought I had gone bananas. Bo ran out of the kitchen, and when I told him I had the part, we began to jump and and down in a circle; I couldn't believe it. I was floating on a cloud for a week."

But Nancy came down to earth again - as soon as the first rehearsal.

"I was terribly nervous," she said "and I was doing everything I could to avoid the camera. I'd turn away from it, and if I wasn't fast enough, I'd let my hair fall over my face. But the director was very patient and understanding. Now I'm completely relaxed."

In sweater and blue jeans, Nancy looked exactly that in her walkup apartment on New York's west side. Bo had popped in and out, while her dogs Henry (a combination of Pekinese and poodle) and Malcolm (a more exotic mixture of Tibetan shitzu and poodle) established themselves as a constant, scurrying presence. The room was tastefully appointed, mostly with antiques.

"I was raised on this stuff" she said, pointing to a huge antique breakfront and an old chest. "But I have a feeling that my folks thought we'd go all curves and glass. When Bo and I were in Chattanooga, we picked up a wonderful oak table and chairs. It cost us next to nothing, but we spent a fortune bringing the furniture back to New York."

For Nancy, The Guiding Light may well be just the first step in a long and successful acting career. One thing is certain at least - and unlike her mother's experience of 30 years ago, Nancy's career will not be suddenly short-circuited.

"I have no fear that my father will take the bus from West Orange to pluck me off the TV set," laughed Nancy. "When I recently called him at the office, his secretary told me that he couldn't be disturbed. 'He's got three very important people here to see him,' she said, 'and somehow, I've got to stall them for a half hour. I've told them he's in conference. But what he's really doing is watching you on television.'"

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Ron Hale: Fast Times at Ryan's Hope!

Daytime TV Magazine, November 1977

by Beth Sherman

When some actors leave the studio, they go home and collapse. But Ryan's Hope star Ron Hale (Roger) likes to live dangerously. He's raced cars, revved motorcycles, and recently got hooked on speedboats.

"They go about 130 miles an hour," says Ron. "It's very fast, very exciting. The feeling of speed on water is incredible. Besides, it's probably a lot safer than slam dancing," he laughs.

Ron also has no trouble nagivating through stormy waters backstage. An orignal star of Ryan's Hope since 1975, he's seen the axe fall on many of his castmates and survived numerous storyline changes. Through it all, he's kept his cool.

"Thing usually roll off my back," he says calmly. "Except when it comes to really important things that I feel are worth fighting for. If I see my character Roger do a 180 degree turn which doesn't make any sense, then I get my Irish up and tell the writers. Or if someone interfers with the people I love, my family, I have no tolerance, and I lose my temper."

Ron and his wife, Dood, live in a a small town 60 miles north of New York City where they've raised three children. Their youngest son, Piper (17), plans on becoming a chef; Dana (19) is studying to be a boat builder and Erin (21)is majoring in technical theater in college.

"I figure one of them will hit it big for sure," laughs Ron. "Piper can open a restaurant on a dock and his brother, Dana, will build him this beautiful boat to house it in. Erin will be in charge of the lighting and I'll sit on the end of the dock in my rocking chair with a fishing pole in one hand and a nice cold beer in the other!"

In the meantime, Ron and Dood are enjoying the simple pleasures of country living. When he's not commuting to work, Ron putters in the garden, weeding, tilling and tending the soil. "The best part of all is the quiet, " he says. "Being able to walk out at night and look up at the stars. Getting up early in the morning and feeding the birds. Doing things together that are healthy. That's what it's all about."

Emmys

Afternoon TV Magazine,

October 1978

by Merrill Cherlin

The Grand Ballroom of the New York Hilton Hotel was the scene for the fifth annual Emmy Awards for daytime Programming on June 7th.....

Every year the nominations and awards are controversial, and this year was no exception. Laurie Heineman, though an admittedly fine actress, won for a role ended in March, 1977. Andrew Robinson was nominated for his role on Ryan’s Hope though he, too, has departed, while the luminous Kate Mulgrew, who turned in one magnificent performance after another, was not.

Also at Ryan’s Hope, the bewitching Ilene Kristen, whose work in a consistenly demanding role continues to amaze us, was ignored - again.......

Insiders were convinced Larry Keith had the Emmy all locked up. He and Susan Lucci have ignited the screen this past year. Michael Levin, with the benefit of some wonderful “basement” scenes with Kate Mulgrew, seemed to be the strongest competition. But Jim Pritchett has been with The Doctors for 15 years and has been the cornerstone of the show, making his Emmy that much more understandable.......

Super witches Iris Bancroft and Delia Ryan (Beverlee McKinsey and Ilene Kristen) paired as presenters - what a combination!

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Claire Labine and Paul Mayer Write Ryan's Hope

It Takes a Lot of Fighting To Write a Good Soap Opera

And Tears, Hard Work and Much Love

Soap Opera People Magazine,

December 1976

by Cassandra White

In the pleasant old house on the quiet Brooklyn street, tensions are beginning to build. Voices - one male, one female - arising. Within a room furnished as an office for two, Claire Labine and Paul Avila Mayer, headwriters for Ryan's Hope, are squaring off at each other.

"I simply don't see how you can be so blindly unsympathetic to Delia," Paul says, lips tight, voice strained. "I am not unsympathetic," Claire cuts in several decibels higher. "I agree she's had a lousy time, but she is still a scheming, vicious, bitch!"

Now Paul's voice rises: "She also happens to be my favorite person in the whole blasted show..." And Claire: "I know that. You always take her side...."

And on, as the scripts say, into the night....

No, they're not testing out a new storyline, or improvising a scene between Frank Ryan and Pat (although many of the feelings expressed in this Brooklyn room will eventually show up in Ryan's Bar). This is not act; this is the real thing. Claire and Paul are having a battle royal and before it ends, he will be dripping sarcasm and she will be dripping tears, because these two people, who daily create Ryan's Hope, genuinely, passionately - even furiously - care.

Let us add at once that fights are the exception to the rule. Claire and Paul have been writing soap operas together for years as one of the most successful teams in the business. For Ryan's Hope, barely a year old, they have already won The Writers Guild Award for Best Written Serial because they usually agree passionately about story lines and characters, sometimes arriving simultaneously and quite independently, at exactly the same plot twist.

They started out as lowly (well, comparatively lowly) dialogue writers on CBS's Where The Heart Is. That represented Paul's first job in daytime TV. He had been earning a living as a movie script writer and a much-respected adaptor of European classics by Pirandello and Strindberg...."but then came the recession, the film business died, and I had a family to support. When I got the job on Where the Heart Is, I was too naive to know that dialogue writers didn't ask each other for help, so I called Claire, who had been there for all of six months, and said, 'How do we do this?' She liked that, and we became friends."

Claire and Paul had arrived at daytime TV via very different routes. She was a tall, pretty young woman who grew up in middle-class Jacksonville, Louisville and Chicago, attended the University of Kentucky and switched from acting to journalism only when it was pointed out to her that opportunities for six-foot-tall ingenues were somewhat limited. Paul, a slender young man of average height, was born of a Jewish film-writing father and a Spanish-Irish mother, and grew up in the sophisticated theatrical worlds of Hollywood and New York, went to Harvard, and never conceived of any career but writing. Nonetheless, by the time they met at CBS, Paul and Claire had a great deal in common: the same politics (liberal), the same lifestyle (casual), stable marriages (in show business unusual), three kids apiece and even a compatible variety of dogs and cats. From the start personally and professionally, they worked well together, laughing delightedly at each other's jokes, hurling themselves with equal enthusiasm into the tragedies and triumphs of their characters.

After several months, they were promoted to headwriters on Where The Heart Is. "And", says Claire, smiling modestly, "we wrote the show right off the air." (It was actually cancelled to make room for a new line-up). The day WTHI went off, another soap, Love Is A Many Splendored Thing, went with it. That happened to be the show on which Paul's actress wife, Sasha Von Scherter, starred, which left a rather big hole in the Mayer family budget. Claire was luckier; her engineer husband, Clem Labine, was working (he publishes a journal for lovers of old houses) but she, too, wanted another job. When one came along, it was for the team of Labine and Mayer - this time headwriting Love of Live at NBC. The ratings went up 20 points in the 21 months of the team's tenure, and over at ABC, when they wanted to take a chance on an off-beat new soap dealing with the life of a big-city ethnic family who ran a bar and talked like real people, they asked Claire and Paul not only to headwrite, but to executive-produce the show. "Claire said it was going to be too much work." Paul recalls, "but I said, 'oh, it would be fun, we could do it.' It turns out that she was right. It is too much work."

It certainly would be for any two - possibily four - ordinary people. On a typical work day (of which there are at least five per week) Paul gets up in his Manhattan apartment at six o'clock am, jogs around the nearby reservoir to wake himself up, showers and spends his only private time with Sasha, a half an hour over coffee. At 7:30 he drives to Claire's house in Brooklyn. Claire, by then, has fed her family and gotten her children, Matthew 17, Eleanor, 15, and John, 10, off to school, having promised her husband that she would never allow a mere soap opera to interfere with the important things of life, like children and cooking. Until recently, she and Paul worked in the Labine dining room; now they hole up in the office. There they prepare detailed outlines of twenty-five "acts" (five per show) per week, passing some along to their two dialouge writers to be turned into scripts, and writing the rest themselves.

Their greatest creative energies and agonies go into the development of "the long story" - enough plot to take three major situations through an entire year. "Or if we're lucky," says Claire, "a year and a half." "Or if we're unlucky," says Paul, "we suddenly find out that we're about to run through a year's worth of story in nine months."

"Or, says Claire, "that some tiny little change in one script has shifted everything around and thrown months of work down the drain." They sigh. They shrug, philosophers to the end. "We're always in trouble," they say, "always behind."

There are easy ways out of trouble, of course, but Claire and Paul will have none of them. "We have never consciously filled up time by having one character tell another character what two others did the week before. They talk about each other if the discussion has a real effect on the people doing the talking."

Nor will they settle for obvious plot lines. "We don't just introduce heroines with round heels," Paul says, "although from time to time some of our women do have---er--some slight problems of that nature." "The real trouble," explains Claire, "is that we like our characters so much we have a terrible time making them do dumb things, or letting calamities happen to them. We want them all to be happy. Unfortunately, that makes a story grind to a stop."

So they cudgel their brains, stare at the walls, sometimes derive inspiration from what is usually an unlikely source, the network vice president in charge of daytime TV ("But in this case, it's different--he is a friend of the show!") and sometimes come up with conflicting story lines on which they can't agree. The Seneca-Jill plot was a case in point: Paul proposed it, Claire found it 'loathesome," they made each other miserable over it for months before Paul won. Now Claire concedes, "I like it." Her children, however, were sorry to see them call a truce. "In 18 years of marriage," Claire says, "my husband and I have raised our voices to each other maybe twice. We're not fighters. So when my kids are treated to the sight of me stamping and screaming and throwing things, they find it quite amusing."

Their regular work day in Brooklyn is interrupted, about once a week, by a visit to the studio in Manhattan, where they occupy a cramped borrowed office, audition actors for new roles, check out the color schemes of sets and costumes, discover in horror that essential script changes were never taped....or just sit for breathless minutes to watch the show go on the air. Paul anxiously rubbing the back of his neck, Claire driving frantic fingers through her soft pageboy, both of them nodding, frowning, smiling at every change of mood on the screen. In Brooklyn, or Manhattan, the day ends around five, when Claire makes dinner for her family and Paul drives home to his. He eats dinner with his daughters, Rachel 13, Ruth 11 and Daisy 9 and by eight o'clock pm is working again, usually til 10:30. Claire works later still. Around midnight she has been known to wake Paul with a desperate phone call: "I can't read my notes on act three...what was Mary going to say to Frank?"

Is it worth it? A hard question, which neither of them can answer easily. The money is good, of course, and someday may be even better - but if you live in New York City, putting three kids through private schools and dentist chairs, it doesn't leave as much for luxuries as one might think. And no time to enjoy the ones that are available. They are both perpetually hassled, rushed and exhausted in mind and body. The resultant strain of family life can be, and sometimes is, not a matter to pass off lightly.

And yet..."I love working this show," says Paul.

"I'm very proud of this show," says Claire. "If ever you see a scene on it that doesn't work, or a mistake we didn't catch, believe me it's not because we didn't try." They do try, both of them, all the time, and obviously with immense success. To both of them, Ryan's Hope is something very special - a drama about strong people, decent people. The pressure under which Claire and Paul create those people, that world - that hope - is intense, exhausting, sometimes threatening to their own private worlds. "But we can cope with it," Claire says firmly. "Maybe not always gracefully. But if it ever is too much for us, we'll give it up rather than spoil it."

What all the Ryan's hope, is that it will never come to that.

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Sam Behrens (Adam) from when he was on General Hospital

Sam Behrens
The Best of Soap Opera People # 1, 1987
by Lillian Smith

Sam Behrens is dead serious about his acting career, which is probably why he's talking to a writer in the first place.

Actually, when he's not playing Jake Meyer on General Hospital, he's a casual, romantic sort of guy who'd rather be out flying a plane.

Sam's been a risk taker ever since he left home and his family's catering business to try acting full time in New York and wherever he could find it.

He found his way into theatre and loved it. He still does, which led to Ryan's Hope where he played a doctor for a year while working onstage in the musical Grease.

Evidently Sam decided it was time to go to California and we're glad he did because now we can see him every day helping all his pals on General Hospital.

Of course, we also have been seeing plenty of Sam in the Wrangler jeans commercials.

Obviously Sam likes doing the spots for Wrangler because he says they spend a fortune on them. The last one was done in Hong Kong, which was great.

"Do you find people ask you more serious questions because you are playing a lawyer?" I wanted to know.

"Yes. And when I was playing a doctor I used to get letters asking medical advice. Now that I'm a lawyer, a lot of letters are asking for legal advice. Some of them are heart wrenching," he told me.

"You've done theatre and films and all, so how is it working on your show?"

"It's a joy when I'm working. They're very professional and everyone is very friendly. The people are great," he said enthusiastically. "That's not always true because I have a friend on another soap and he says it's just the opposite. The crew and actors are ok, but the producers and writers all make life tough for them."

"If you are such a busy lawyer on General Hospital, how come you can go off with Bobbie to Terry's home town to solve the mystery of her past?"

"Well, I'm involved with a family, all the people who live in the brownstone and romantically with Bobby. All these people are like a family though one is from Minnesota, Omaha, and New York. We're a non-family getting together. When something happens to one, it happens to a few. Bobbi's involved, then so am I," he explained.

Sam lives up in the Hollywood Hills now that his second marriage has ended.

"Actually, my first marriage was very successful. The relationship still is. I gained a lot from my first marriage." He is fairly silent about his second.

"Are you romantic?"


"I am and I'm practical. It depends on who you talk to and where we are in the relationship. I can be romantic to a fault, then swing the other way," he shrugged.

"What kind of women do you like?", I wondered.
"Well, it's nice when they're beautiful but I wouldn't trade it in for independence, brains. It's a nice addition but sometimes when a girl has beauty and gets everything she needs, she sometimes doesn't develop other areas", he mused. "I like a woman who is independent, aggressive and is open. I like mystery but not when it comes to a person hiding something. No."

Sam drives an Audi now that he ha traded in his 66 T-Bird, which was a headache. He says he can cook and when pressed says meat and potatoes and sushi. He laughs when I point out that sushi isn't cooked. Music isn't something he listens to intently. When he does, he likes classical and jazz. When it comes to clothes, Sam admits he goes through fashionable periods then swings back to sweat clothes. The handsome, brown eyed actor is very much at ease in gray sweat pants and a blue sweatshirt as we talk.

"Were there years you would like to forget?"
"Fourteen to twenty! The teens," he said immediately. "I once had a friend who said the only reason he didn't kill himself was he'd have to come back and live through his childhood again. I like my late 20's and think 30's may be the best."

He says he is sort of serious today but as a child wasn't serious about anything. Now he believes in doing it seriously but not taking it seriously.

He wasn't good at school, says he wouldn't listen. However, he could always study about two weeks and get good grades.

"When did you decide you wanted to be an actor?"
"I wanted to be a star, not an actor, until my mid 20's," he laughed. Then he changed and decided to put the emphasis on acting, and wants to do more theatre and films. Right now he's extremely happy doing General Hospital.

"There's a lot of adventure on your show, would you like to be involved in that?"
"I like to do scenes that come out of real life rather than things that are made up! I like what is revealed by a character in a situation rather than just be in a car crash, or stand around just looking good."

That's why Sam prefers some foreign films more than say, Rambo. There are films around like that, for example he mentioned Choose Me, which he says was an exquisite film.

"Would you say you like danger?"
"It's not that I like danger but I like to be excited and involved. Sometimes I do some skydiving. I believe in involvement. If you're around to do it once, take in as much as you can. Even if you aren't around you might as well do it anyway because if reincarnation is the real thing, and I tend to think it is, you may as well enjoy yourself. If you screw it up, you're coming back anyway."

"Your fans like to know your birthday and what else do they say in letters?"
"My birthday is July 24. They want to know the storyline. They say you should be with so and so. Were getting good mail on
Bobbie and Jake."

"I think your scenes with Jackie are wonderful, very real life, warm and tender," I told him."Thank you - tell the powers that be," he laughed.

Then Sam was off flying a plane to Carmel for the weekend - next to acting, flying is his passion.

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Roger Coleridge:

Is the Leopard Changing His Spots?

Soap Opera Serials Magazine,

July 1977

J.M. Fitzmartin

"Roger and no one else brought Edmund through," Jill Coleridge declared. "He's forgiven for all past behavior." Dr. Seneca Beaulac and Dr. Clem Moultrie nodded their agreement and again detailed to Jill the skill with which her brother had performed the delicate brain surgery that had saved her tiny baby's life.

Just a few short hours before, Roger had been sitting in a waiting room at Riverside Hospital, listening anxiously as Seneca described with alarm his premature son's latest illness. The Hyline Membrane syndrome had subsided, but while his lungs had healed his brain had shown signs of swelling. Roger had a gnawing feeling that he alone had the ability to save the child. He felt suddenly imbued with a certain lifesaving power and had quickly asked Seneca to let him perform the operation and not the already overworked Dr. Moultrie.

Seneca hesitated. This was, after all, his own son that he would entrust to the hand of a man who just a few short moments ago had never done anything to win his confidence. Only a year ago Seneca had fired Roger from the hospital staff and awarded the prize neuro-surgery position to Clem. It was such a bitter disappointment that Roger rejoiced a few months later when Seneca was suspended for the euthanasia death of his wife. But it was Roger, now who was begging, and Seneca mulled past events over.

True, Roger was a brilliant surgeon, but his character weaknesses had earned him the well-deserved reputation as an unscrupulous spendthrift. His father Ed had long ago grown inpatient with him and his dislike for his only son made him almost sneer when Roger promised he'd settle down and become responsible.

But try as he might, Roger couldn't change. His gambling became compulsive and after he quickly ran through an inheritance left by his mother, his father refused to advance him another cent. Desperate, Roger turned to Mob loan sharks and quickly ran afoul of Nick Szabo, their local representative. Trying to beat the gang out of six thousands dollars was too tricky a task for Roger, who lacked any shrewdness, so he blackmailed Frank Ryan for the money instead. Roger was the only one to know that Frank and Jill were having an affair and family loyalty was thrown to the wind when faced with the prospect of a broken leg. Szabo style.

After his father died in a fall from the hospital roof, and Seneca canceled his contract when Frank revealed the blackmail attempt, Roger had nothing to do but sit around dreaming of revenge. Frank was his first target and he decided to punish the newly elected city councilman by seducing his wife. For years, in fact, Roger had been eyeing Delia with nothing less than lust. Her dizzy ways and blonde emptyheadedness, excited Roger as fast as they turned Frank off. He couldn't believe his luck when Delia responded to his come-on. Of course, Dee had her own reasons for cuddling up to Roger, she wanted to pay Frank back for his infidelity with Jill and an affair with the loathed Dr. Coleridge would do the trick.

Sipping expensive champagne on Roger's opulent bed, Dee lounged around like a pampered princess and Roger, at last, felt like a big deal, something he'd been longing for for years. Dee made him feel like a hero instead of a villain and the more she demanded the more he willingly gave. Like two spoiled children, they cooked up plots to deceive Frank and hurt Jill.

But eventually the Ryans found out it was Roger whom Dee had been carrying on with and forbade her to ever see him again. Stung, Roger bitterly demanded Dee return to him. They would be married, and he would buy her anything she wanted with his late father's millions, he vowed.

But while Roger talked on and on of their future together, Dee had other plans. After deciding Frank was a lost cause, she zeroed in on his brother Pat and drove him into jealous tantrums with tales of her trysts with Roger.

Deceived into thinking Delia would go to Europe with him, Roger bought her thousands of dollars worth of designer clothes with jewelry to match. With two steamship tickets in his pocket they set off for Boston and the sailing, never knowing of course that the trip was Dee's trump card in the game to trap Pat. She had left behind a note saying how sorry she was for being so much trouble and now the Ryan's were well rid of her. Of course, she also revealed their exact destination as well, and as she expected, Pat came and saved her, leaving Roger behind on the ship hopelessly searching for Delia as the liner sailed from the dock. After flying home from England, Roger was left alone to lick his wounds, humiliated and disgraced.

As the weeks passed, Roger began to change. As callous as he was, he had come to truly love Delia and the relationship. He was merely a pawn in her game and it shocked him into coming to terms with his life.

Quietly remorseful, he made careful overtures to his sister Faith and Jill, trying to restore some semblance of family unity. But it was the emergency surgery on his tiny nephew that revealed just how much he had changed. With complete competence, he tackled the job with an assurance that surprised Clem and astonished Seneca. Something about the confidence Jill had invested in him made him feel more than capable and he displayed his surgical talent with a flair.

Basking in the rewards heaped on him after his success, Roger may wonder if there is again a place for him in medicine and in his family. But old habits die hard and Roger may not be able to resist one last stab at those who hurt him in the past.

Cheers, Jeers, From You, the Viewer

Daytime TV Magazine,

September 1979

What good is it having a Senator in the Ryan family on Ryan's Hope if he can't do something about Delia, like deport her?" H.C., Decatur, Ill.

"What do the Ryans have that big irish wolfhound, Finn McCool, for, if not to sic on Delia?" TJ, Mansfield Ohio.

"I can't wait to see what Delia will do now that she has financial control of Ryan's Bar. Probably bring in pinball machines, belly dancers and a soda fountain." R.N., Duluth, Minn.

"I was astounded that Ilene Kristen, who played Delia on RH for three years, was again passed over for an Emmy nomination. The depth and range of her portrayal was remarkable from the very beginning, and I can only wonder what backstage politics prevented her being named." B.S., Brooklyn, NY.

"I can't argue with either the nominations or the winners this year. they are all fine, deserving performers. But how could they make Helen Gallagher a Best Actress nominee, but put Bernard Barrow, who plays her husband, in Best Supporting category? The same went for John Clark (Best Actor nominee) and his TV wife, Suzanne Rogers (Best Supporting Actress). It's not logical, and insults viewer intelligence." G.W., Vail, Colorado.

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Geoffrey Pierson:

Is He the Alan Alda of the Soaps?

Daytime TV Magazine, July 1983

by Jason Bonderoff

Newcomer Geoffrey Pierson doesn't commute from the psychiatrist's couch to divorce court...is that any way to make a name for himself?

"Being an actor is a very fickle, uncertain--at times, brutal--business. It's not the kind of work that lends itself easily to marriage and raising a family....how do Kate and I manage to do it and survive? I guess it's just my character and her character. Obviously, I love my wife and children very much. But what it really boils down to is this: we just want to keep on being together more than we want anything else."

No, Alan Alda didn't make that statement; Geoffrey Pierson, the brand-new Frank Ryan on Ryan's Hope, did. Geoffrey - a Chicago boy with sandy-haired, Irish looks - may not resemble Alan Alda in the least, but there are parallels nonetheless. Geoffrey graduated from New York's Fordham University (the M*A*S*H star's alma mater) and then followed closely in Alan's footsteps by marrying his college sweetheart, having three children, and trying to squeeze in theatrical auditions when he wasn't busy diapering wet bottoms.

Family life is something he's had a great deal of experience with. Geoffrey - the second child and eldest son - grew up in a family of seven kids. "I think I always harbored, in the back of my mind, the idea of being an actor, but I never dared mention it", he says. "I was raised in the kind of environment where it wasn't done. I did one play in the eight grade, but in high school I went out for the swimming team, not the drama club."

At Fordham, Geoffrey, happily majored in philosophy (with his dad's approval) and avoided business and science courses. "In my junior year, I started taking acting classes in Manhattan just to see if I was any good at it," he recalls.

He was definitely good at it, but Geoff soon had other things on his mind. In his senior year, he married Kate, a fellow classmate. After graduation, he made a few quick tries at conquering the N.Y. theater world. When nothing clicked, he considered going to law school, then finally moved back to Chicago with Kate (and their newborn daughter, Nora) where he worked in his father's steel business for four-and-a-half years.

By the time he was 27, Geoff was a father twice over (Nora had a little sister Elizabeth), but felt stymied career-wise, he admits "so in my spare time I started doing dinner theater. The plays weren't very good but the audiences laughed uproariously, anyway." After 18 months on the local circuit, Geoffrey felt ready for something meatier. When he was accepted at the prestigious Yale Drama School, he and Kate packed up the girls and moved to New Haven, Connecticut. He stayed there three years, during which time his son Roy was born.

Geoffrey graduated from Yale in May, 1980 and almost immediately landed on Broadway in Tricks of the Trade, starring George C. Scott and Trish van Devere. Unfortunately, the show closed in one night. "But it didn't exactly come as a shock," laughs Geoffrey. "We'd opened in Los Angeles first where the reviews were not kind; in Washington they were even worse; so the writing was on the wall before we ever got to New York. But I was grateful for the chance to work with George C. Scott, who's one of my idols. In that sense, I wasn't disappointed. He's an absolutely delightful man."

Geoffrey next understudied David Selby in a show called I Won't Dance, which also lasted one performance. Thankfully, his soap roles have proven more durable. After playing Lt. Donovan on Texas for nine months, he's now Frank Ryan, one of the pivotal characters on Ryan's Hope.

"The minute I read the script, I knew this part was for me," says Geoffrey. "I told Kate, "I know this guy - I'm Frank Ryan." Since I'm Catholic and half Irish, there was an immediate bond. And I was always the kid my brothers and sisters depended on, just like Frank. I understand he's even supposed to be a graduate of Fordham. Now how's that for coincidence?" he says with the kind of winning smile that's sure to give him instant soap appeal.

And you thought only Alan Alda proved that nice guys finish first.

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Marg Helgenberger:

“It's not easy being a grown-up”

Daytime TV Magazine, 1983

by Joan Loughlin

Marg Helkenberger went right from college to soap opera stardom…Now if she could only learn to balance her checkbook

Marg Helkenberger (sic) was thrilled when she was whisked off her college campus to play Siobhan on Ryan’s Hope, but she wasn’t entirely prepared for all the trappings of stardom.

“I feel like I’m laden with responsibility,” explains Marg. “I went from being a code/waitress to someone with a legit job. It’s the first time I’ve been so far from my parents and forced to make so many decisions. I ask so many people for advice that my head spins.”

Laughs Marg, “I don’t even like to go to the bank. Being an adult is very hard for me and I’m not ashamed to admit it.”

Marg’s whirlwind success came so quickly, she didn’t even have time to get nervous. She was studying drama at Northwestern University in Chicago, with plans to do some local theater when she graduated. But those plans changed when an ABC casting director spotted her in a college production of The Taming of the Shrew and called her up to audition for the role of Siobhan. “I thought they did that for everyone,” says Marg. She won the part, finished up her last semester at college, and went from student to soap star in one easy step.

“I’m lucky because I didn’t have to deal with all the rejection that most actresses suffer through when they come to New York,” says Marg. She may have escaped the rejection, but she still managed to work at some of those off-beat temp jobs when she was putting herself through college. She waitressed, was a weather girl on a local station, and spent her summers working in a meat packing plant in her native Nebraska.

“Working at the meat packing plant was quite an experience, too,” continues Marg. “It was hard work, standing on an assembly line cutting up meant for eight hours a day. I still have big muscles on my arms.”

Now Marg’s busy flexing her acting muscles, and unlike many actresses, isn’t worried about what the future will hold. “I like the unstructured aspect of show biz,” she says. “I’ve never had anxiety trips about my future.” In college, Marg admits she didn’t like to plan and was always living for the moment, but now she’d rather be more disciplined.

“Being disorganized wasn’t very healthy,” Marg explains. “This job forces me to be responsible, which is great. The show’s a good influence because it carriers over to my personal life. I guess it’s all part of growing up.”

Marg Helgenberger:

The Old Siobhan Returns

Afternoon TV Magazine,

April 1985

by Carol Tormey

As I sat waiting in the Ryan's Hope lobby, watching TV with David Sederholm (Bill Hyde), this fresh-faced, vivacious woman entered the room and said, “Hi, I’m Marg Helgenberger.” I was surprised that this was not only an attractive redhead, but a TALL attractive redhead, much taller than she appears on screen. Since it was during a lunch break, we went to Marg’s dressing room to chat. On the way there was a piercing infant’s cry filling the corridor. “Oh, that’s just Molly - Siobhan’s baby-she’s on the set today.”

Somehow I had a bit of difficulty imagining the wild and carefree Siobhan Ryan tending to a crying baby. “There have been a lot of changes in Siobhan since I came here” Marg explained, “I have all these scenes with the baby - playing with her, talking with her. They are totally wimpifing Siobhan. The only thing that makes her somewhat strong is that she’s going to remain unmarried because she’s in love with Joe and willing to raise his child alone rather than hurting Bill....etc.”

After Roscoe Born departed as Joe Novak, they recast the part briefly and then wrote the character out after an accident. Naturally, the body was never really identified. Will he ever return? Marg doesn’t think so. “The same old problems would arise; Maeve takes Joe’s side, Johnny hates Joe so he and Maeve and he and Siobhan are at each other. The same old stuff. They tried to recast Joe - or rather Roscoe - again, but they changed their minds, which was a wise decision. It’s so hard when somebody makes such an impression as a characer. Recasting was futile.”

Marg really doesn’t know what’s happening with Siobhan. She does know that she’ll be there, since, after 2 1/2 years on RH, Marg just signed another year-long contract. “I’ve really had a change of heart recently. I didn’t want to do this (acting). I wanted to finish out my contract, go to school and find another job - move out of New York. But I’ve had such good exposure on RH and I realized it was foolish not to pursue other areas of the business so I decided to stay and signed another contract. You know, I was involved in daytime TV before I knew it?”

And that’s no lie. Marg has one of those all-time great discovery stories. “I’m originally from North Bend, Nebraska on the Platte River - a population of 1200. I went to Earney State in Nebraska and then to Northwestern in Chicago. I was doing a play and an ABC casting director - Susan Scudder - was there as part of the Talent Search program. She called me in and asked me what I wanted to do with my life. I said I wanted to stay in Chicago and she said, “Ok, well I’ll keep you in mind.” I said ‘sure, sure.’ I never even followed it up with a thank you note. I was just a complete klutz about it. Well, she found out when I graduated and sent me an airline ticket and flew me out there from Chicago for a screen test. I was shocked - I had long since forgotten about the whole incident.”

Marg was tested, hired and two weeks later moved to New York. “My parents were thrilled about the part, although it’s not carried in Nebraska. We have no affiliates there, so they can’t watch me.”

Her family has been extremely supportive of her career, and she’s the only one who is in ‘the business.’ “Well, my sister is a jazz musician in Minneapolis so she’s also a performer, but that’s it.”

Marg herself now has a firm commitment to her career. She’s finally epxloring those other areas of performing, especially the stage.

“I’m working with a children’s theatre group called TADA (Theatre and Dance Alliance). We’re doing an adaption of the book How to Eat Like a Child. I’ve done musical comedy and summer stock and children’s theatre. I let all that slide when I started RH, so when a friend of mine told me that her roommate, Nina Tecens, was producing this play, I just got involved. There’s one adult in the show, and at first, they wanted me to do do the part. I decided that I’d rather not perform. Now we’re looking for some backers to promote the show. We did a benefit performance and raised some money, and hopefully we can do the show in the late spring.”

Doing work with TADA has helped Marg to expand her work beyond RH, now that Siobhan isn’t in the central storyline. “The actors are all getting younger and there’s the accent on a youthful storyline. Sometimes they treat me like an old lady. I’m only twenty-five - but they write Siobhan much older - in her thirties. There’s this new change in the look of the show - even to the new Ryan’s Bar.

Part of the reworking of RH could be due to the demise of Edge of Night in December, the change of air time of the show, and the uncertain future of RH itself. “I know they changed the time to help Loving. As a lead-in to All My Children, which is very popular, Loving would be catching some of the AMC early tuners who turn on the set early to be ready for Pine Valley. They start to watch the previous show, and, before they know it, they’re into that show. That’s how Ryan's Hope got so popular, and hopefully the same will happen with Loving.”

But what about Ryan's Hope? “No one really knows,” Marg said with a really heavy sigh. “With this EON thing (the cancellation), there’s a rumor that we’re going to an hour, or moving into their time slot....who knows? It would fit it at 4 o’clock because it would follow General Hospital so well. Most of our wrting staff is from GH. Actually outside of the Ryan family, this show looks like GH -- all the young kids.”

There are also the rumors that RH is going the way of EON, since they share similar problems. Both shows are not shown in all areas of the country. Unlike AMC, OLTL and GH which are shown nationally, EON and RH are not aired in many parts of the country, such as where Marg’s family lives in Nebraska,and also in Florida and many midwestern areas. Since there is no national following, EON was low in the ratings and RH may face the same difficulty.

But the spirit on the set is not one of fear of cancellation. “We’re a really close group and that’s what is important. I have a good time, enjoy the people I’m working with and that’s great.”

What Mag really wants RH to do is give Siobhan back some of the spunk and energy she seems to have lost lately. “I liked Siobhan better before. The things with the baby are fun, but she’s really lost her spunk. All my fan mail says the same thing. What happened to her?”

“It would be real nice to have her get more into her work again.” Then a smile came over Marg’s face and she giggled as she said, “I’d really like her to put the kid in the backpack and take off on an adventure. Now that’s something the old Siobhan would have done.”

Although she’s not happy with the way things are going for Siobhan now, she does have the attitude that the RH writers will give her more to do in the future. “She was getting involved with kids at Greenberg’s Deli and that’s a possible way to get back into the intrigue where she belongs.”

As far as Marg is concerned, she’s going to stay with the show and still pursue work in the theatre and maybe even film, as her time permits. She did complete one independent (and, as yet, unreleased) film Blackmail Plus, shot in Vermont. The film also happened to be written, directed and produced by the fellow Marg lives with. She’s real secretive about his name, but she will say that they met in grad school, he’a film maker and writer, and has done some work as a scriptwriter for Search For Tomorrow. Other than that, she’s mum. “It’s better that way,” she added with that little Siobhan Ryan twinkle in her eye that Marg does so well.

It seems that Marg Helgenberger’s campaign to have the old spunk and sense of adventure and daring return to Siobhan will pay off. There’s no way that the writers of RH will allow her to be a house-bound mommy much longer. And then - Riverside watch out - it’s Siobhan and the kid to the rescue!

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You Gotta Have Heart:

That's award-winning soap writer Claire Labine's motto for making daytime great!

Soaps in Depth,

September 1998

(Author Unknown)

Claire Labine has issues. The co-creator and head writer of Ryan's Hope, as well as the former top scribe of General Hospital and One Life to Live, is concerned about the state of daytime. "I think the form is drifting away from what it is fundamentally about - emotional issues, relationships within families and between lovers," she says. "That's the heart of daytime."

The nine-time Daytime Emmy victor pauses, then adds: "Which is not to say there is not room for demonic possession and all that."

Labine knows from whence she speaks. After all, she's spent two decades toiling in the melodramatic trenches and butting heads with network brass for naught. She believes in daytime, its stars, its audience and its power.

"You don't make any bones about the fact that your primary obligation and responsibility to the audience is to entertain," she says. "But you also have an opportunity to say something."

And Labine has had a lot to say. Her socially aware storylines have encapsulated a variety of issues - environmental, AIDS, abortion, euthanasia. "Its a fine road to walk," she concedes. "One person's defintion of social change is not another's, and you can't use the airwaves to propagandize one point of view."

"But at the same time, there are things that are right, and there are things that are wrong. If you can frame a story wherein people are in a 'moral' way, then the story has more impact because the values are greater."

WRITE GOOD STORY AND THEY WILL WATCH

Regardless of whether people agree with Labine, they watched. RH, which ran from 1975-1989, remains one of the most beloved soap operas in history. "It was unique," says Nancy Adisson Altman, who played beleaguered heroine Jillian Coleridge. "And I think the public really knew that they were watching something special. They all picked up on the flavor of it."

From 1993-1995, along with son Matt and daughter Eleanor, Labine helmed the writing team of GH, and changed the scope of the show. Instead of over-the-top espionage stories, the Labines brought the residents of Port Charles down to earth and back to the foreground. Yes, there was still adventure (Luke and Laura returned), but there was also family strife, breast cancer, and organ donorship. To this days, fans still reach for the kleenex when remembering how Tony Jones donated the heart of his brain-dead daughter, BJ, to his niece, Maxie, and how mob runner Stone Cates, dying of AIDS, regained his sight momentarily, so that the last face he saw was that of his girlfriend, Robin. "Claire's writing was brilliant," marvels Michael Sutton, who played Stone. "To do it at that level that she did with such a delicate subject matter, I just have to commend her."

Recalls Labine, "We had a wonderful time on that show. [Executive Producer] Wendy Riche let us do what we wanted."

The Labines' laboring put GH back on the map with fans and critics, and earned the writing trio a 1994 Emmy. The following year, they were given a special environmental commendation from Connecticut College for an incinerator storyline that pitted the social classes of Port Charles against each other.

"We were quite gratified by that," she says. "I was flabergasted that anyone was paying attention."

WHATS NEXT

Unfortunately Labine's next daytime writing experience was more futile than fruitful. In early 1997, she and Matt took over the reins of OLTL. While there, the mother-son team gave anti-hero Todd Manning a parrot; middle-aged heroine Nora Buchanan developed menopause; and Mel Hayes, a Hemingwayish journalist, arrived. However, few of the storylines caught on, and a year later, following the firing of OLTL's executive producer, Maxine Levinson, the Labines were let go. "I've never worked as hard as I worked last year," Labine sighs, "I certainly don't regret it, but it wasn't easy."

Although she hasn't ruled out writing for another soap, she says, "It would be under pretty specific circumstances."

She has other projects up her sleeve anyway. "I'd still love to do a new show," she admits. "My heart is definitely in a half hour."

THE BEST OF THE BEST

Her favorite storylines:

1. The metamorphosis of GH's Sonny Corinthos in the early 1990s. "We adored taking him from a small-time punk to a person who had to make moral choices given his training and his inclination and his involvement in organized crime," says the ex-headwriter. "And also the struggle for his soul with Brenda."

2. GH's heart transplant story of BJ's death and Maxie's saved life. "It affected so many people."

3. The tragic romance of Stone and Robin. "I loved the AIDS story beyond belief."

4. The 1970's quadrangle of RH's Seneca/Jill/Frank/Delia. "It was so much fun. We'd write it from Frank's point of view, then Jill's, then Seneca's, and back to Jill's."

5. The plot that introduced Johnny Ryan's grown illegimate son, Dakota Smith, on RH. "I liked, toward the end of RH, the trouble between Maeve and Johnny over that."

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Julia Campbell (Katie) from when she was on Santa Barbara

 

 

 

Julia Campbell:
"We Made Love in an Oyster Shell"

Daytime TV Magazine,
November 1986
by Janet Di Lauro

When it comes to doing love scenes, Julia Campbell's really in the swing of things!

Julia Campbell was finally beginning to feel like she belonged in New York City. “People weren’t staring at me like I was a foreigner any more, when I got on the subway,” she laughs. “I was starting to feel like a real New Yorker.”
But, as fate would have it, Julia’s days as a Manhattanite were numbered. Her role as Katie Thompson Greenberg on Ryan’s Hope had just about run its course.
“Once Katie and Dave got married, neither Scott Holmes nor I were working much,” explains Julia. “Then, Scott’s contract came up for renewal, and he decided not to re-sign. So, I really didn’t have anywhere to go storyline-wise.
“My agent and I met with the Ryan’s Hope producers and we all decided it would be best for me to leave the show, too. TV pilot season in L.A. was coming up, and I wanted to be free for that.”
That was the first week of December, 1985. By the end of the month Santa Barbara had contacted Julia about an audition.
“They wanted me to try out for the role of Hayley,” recalls Julia. “But then they decided I was a little bit too old for that part. They told me they were going to get back to me with another part. I really didn’t believe they actually would, but they did!
“I was in St. Louis at the time, doing some modeling,” she continues. “I got a call to test for Courtney Capwell. I flew to California and screen-tested with Robert Thaler (who plays Courtney’s beau, Pearl). It went very well. I felt good about it the minute I walked off the set. I remember thinking, ‘I could definitely get this part. I could be moving to California.’
“So, I went back home to New York, and a week later I learned I’d gotten the job. That was on a Friday. I had to start taping that Monday.”

So Julia packed her bags, sublet her apartment to good friend Cain Devore (Chip, One Life to Life), and took the next flight to California.
“It was crazy,” she recalls. “Everything happened so fast. Luckily, I adjusted to California life pretty quickly.
“A friend of mine moved out here the same time I did, so we found an apartment together. It’s a really nice place—a beautiful, sunny townhouse. It’s a lot bigger than what I was used to, and would you believe I pay less than half the rent I did in New York?”
Aside from the cost of living, Julia has found a few other differences between life on an East Coast versus a West Coast soap.
“For one thing the atmosphere is so different on Santa Barbara,” she notes. “Everyone’s so positive, so proud to be on this show. We rehearse constantly. I feel like part of a real team.”
“Getting recognized is a lot different out here, too. In New York you’re in constant contact with people. I used to get spotted wherever I went. But in California the only place I ever see any fans are at the grocery store. If it weren’t for supermarkets, I wouldn’t know anybody was watching me on Santa Barbara,” she laughs.
Julia is also glad to be playing a character with a bit more spunk this time around.
“Katie was so good. Courtney’s a bit more mischievous…a little devilish, but she’s got a good heart. She’s just not so good that you get sugar shock from watching her!
“I’ve even gotten to do my first real love scene on Santa Barbara. On Ryan’s Hope Katie never slept with Dave, not even after they were married. I’ve finally gotten my first on-screen experience,” giggles Julia.
“I thought it would be a lot scarier than it was, but it wasn’t. Robert and I were too busy worrying about bumping noses, keeping the sheets up, and not blocking each other’s shots,” she laughs. “Plus I had to be careful how I moved in my body stocking. I didn’t want to pop out!
“Actually, Robert and I had a lot of fun that day. We laughed a lot. After all, we were making love in a giant oyster shell. I can’t ever imagine Katie and Dave doing that!”



 

 

 

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Grant Show

She's a Fabulous Wife!"

Daytime TV Magazine,

November 1986

by Jason Bonderoff

Last fall Grant Show was getting bored and frustrated playing Rick Hyde on Ryan's Hope, so he decided to do something about it.

"I wasn't really happy on the soap," he recalls. "I didn't feel good about my work. I felt I was getting stale as an actor. I needed something to give me a lift."

In short order, Grant won the role of Matt Dillon's understudy in the new Broadway play, The Boys of Winter. It was exciting - and enlightening - to be working with major young talents like Matt Dillon and Andrew McCarthy.

"They're great guys and nothing at all like their Brat Pack reputations," Grant says. "I learned a lot just watching them. Andrew's a fine actor; he's a nice guy, too. But hard to get to know."

"When I first read the script, I loved that play. It deals with Vietnam, a subject people my age don't know much about. Before, I used to be afraid to talk to someone who was a Vietnam vet. This show educated me."

But despite its serious intentions, The Boys of Winter didn't last on Broadway. "There were script problems," Grant admits, "but at least the wrap party was great. Closing night everybody was down, so the producer wisely waited and held the party (at Sardi's) six days after we closed. By that time, everybody was up again!"

Fortunately, The Boys of Winter had one fringe benefit for Grant--it had made film and theater producers sit up and take notice. "It's really not fair, but that's the way this business works," he says. "I think Ryan's Hope has taught me a lot more about acting, but doing Boys of Winter is the kind of credit that casting directors notice. Somebody actually said to me, "You're a serious actor now." What did he mean by that? My work on Ryan's Hope is just as serious. I almost wanted to slug him!"

Actually, Grant's new Broadway show ought to be a new edition of The Odd Couple, since he shares his Manhattan apartment with another soap actor, As The World Turns' Jon Hensley (Holden). But it's hardly a Felix/Oscar relationship. "Let's say we're both semi-neat." laughs Grant.

They're also very noncompetitive. "We never go out for the same roles or try to date the same girls." says Grant. "In fact, sometimes I forget I even have a roommate. I tape Ryan's Hope in the morning, and Jon tapes World Turns late in the day. Even when we're home, his room's over there - my room's over here. We only meet when we raid the refrigerator."

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Nancy's Dream Home

Soap Opera News Daytimers Magazine,

October 1982

Nancy Addison, the actress who portrays Jillian Coleridge on Ryan's Hope, sits curled up on her sofa as content as a Cheshire cat. Fresh-faced, wearing no makeup, she simply glows. Her clear green eyes seem as radiant and refreshing as the Caribbean waters where she and her husband, ABC news producer Daniel Goldfarb, spent an idyllic honeymoon at the Barbados hide-a-way of movie great Claudette Colbert. Marriage definitely agrees with her.

"Yes, I'm very happy. I love being married to Daniel," she says, her cheeks blushing a becoming shade of rose which complements the lively pink motif of her apartment. We're still living out of crates," Nancy smiles, indicating unpacked cartons hidden discreetly behind sofas and chairs. "I haven't even had a chance to hang my pictures."

The apartment where she and Daniel have recently moved, smells of fresh paint. It is airy with high ceilings and boasts a fireplace. At a writing desk in the hallway sit two life-sized ragdolls, threatening to come to life as soon as one's back is turned. Scattered about on coffee tables and chests are photographs of family and the actress herself. One particularly striking set shows Nancy during an emotional scene with James Coburn from the critically acclaimed mini-series, The

Dain Curse. There is, in short, a comfortable elegance about this home; a mood suggested by its mistress, Nancy, and by two rather regal-looking canines named Max and Malcolm who have the run of the place.

"I love elegance. I really get into it," the actress admits. "I come from a family where my parents dressed up every Wednesday and Saturday and went to a night club." Following suit, the Goldfarbs, too, enjoy that occasional spiffy night out on the town or just having friends over for drinks in what must look like a scene right out of an F. Scott Fitzgerald novella. Adding tone to the portrait is the fact that Nancy and Daniel are still newlyweds. Married last February 14th, Nancy admits that she feels 'really good' about the marriage.

For me to make the complete commitment of marriage, the person had to be very special, and Daniel is very special; it's just so easy.....such an easy relationship."

It all began late last spring when Nancy was involved in her first Broadway play, A Talent for Murder, in which she co-starred with Claudette Colbert and Jean-Pierre Aumont. "When Daniel and I first met, I was working every day on Ryan's Hope in addition to doing the play. He was terrific; so understanding; I may have been a little difficult to date in the beginning" she reflects, alluding to her chaotic schedule, the results of being involved in two full-time projects. "The first two or three months were very slow; very tenuous. We'd see each other for an hour at lunch and then I'd be running off, because besides the TV work and the play, I was also still involved with my business (hair ornaments and accessories) at the time."

Happily, their eat-and-run relationship finally had its chance to sit back and relax a spell when coincidentally, both Nancy and Daniel were in Washington, D.C. at the same time - he for a news story and she for a month of rehearsals for Talent at the Kennedy Center. "That's where it really happened," Nancy confides. "Being there together gave us time to be sort of isolated." At the same time, it gave Daniel a chance to see the actress 'under the gun'. During the month in the capital,

Nancy was at her busiest, having to get through seemingly endless hours of rewrites and rehearsals. "He knew then what he was in for with an actress," Nancy laughs.

After their winter wedding, the couple spent some time basking in the West Indian sun as guests of Miss Colbert. "It was wonderful," the actress says of the honeymoon. "The house sits right on the ocean. It's very private and lovely. There were two people serving us wine and champagne with meals every night." In short, a lover's paradise. And did the Goldfarbs 'dress' for dinner? "No, Claudette's very casual. She's always wears silk pants and caftans. It was a casual kind of elegance."

Now that they're back in New York and reality, do two high-powered careers in the same family present a problem? "Well, Nancy laughs, "right now I'm going crazy because I'm only working on Ryan's Hope one day a week. But I'm usually very busy. In fact, this is the first time in a long while that I haven't been. And Daniel is as involved in his work as I am in mine. But there's no competition between us." She pauses for a moment, reflecting. "I think it's harder with two actors. But I don't think I could have ever married anyone who wasn't in a creative field. I think it works better when the careers complement each other; you're more compassionate; more understanding of each other then." But what happens when careers play havoc with personal life? It's not a problem, Nancy insists. "Even though our work can be demanding and the hours long, it makes the time we spend together even more special."

With such a busy career, would she consider having children? "I don't think so," Nancy says thoughtfully. "I just don't think I'd have the patience." At that moment one of the actress's adorable dogs presents himself for a little attention. Nancy smiles, giving him an indulgent pat on the head. "It's not that I don't like children; I do. I have a niece and nephew. But I think I'm a little selfish in that respect."

Moreover, at this point in her life, the actress has two very important priorities: her marriage and her career. "I guess I could never be happy without a career. I also think a relationship is very important. So right now, they're about equal with me. One without the other would be sad. If I didn't have a career, it would be extremely difficult, and if I didn't have Daniel, it would be difficult too. Right now I have both and it's a real nice feeling."

With her storyline on Ryan's Hope ebbing more than flowing of late, Nancy has more time on her hands than she'd like. She hopes by fall, however, her part as Jill will be expanded. "I think they're looking for another Frank Ryan," she notes. Although the actress has played lawyer, Jill Coleridge on Ryan's Hope since 1975, she doesn't find the role tedious or stagnating. "Of course, I'm totally unexcited about it now. But if they give me something to do, it will re-charge my energies. If they give me something that has emotional impact, something I have to dig down emotionally to play, then I can get excited about it. It'll challenge me all over again."

Somewhat of a compulsive worker, Nancy had no trouble last summer doing both the play and the soap. "It's terrific," she states emphatically. "It made me stronger and better in each thing. I was so filled with energy and adrenaline that I was really sharp. I loved to bounce back and forth like that."

Even though the actress considers the Broadway run a high point in her career, she points out, "I like doing television an awful lot. It makes me feel protected. On the other hand, out on the stage, you get really nervous for weird reasons - most of the time you don't even know why." A nostalgic glimmer lights her eyes. "Some nights funny things would happen. People would make mistakes and you'd have to cover. It's just unbelievable to be out there."

Unlike where a scene can he re-taped, on stage there is no such opportunity. When something goes awry, an actor must be ready to keep the pace going as though nothing had gone wrong. "It's sheer panic when that happens," Nancy says wistfully.

"Of course afterwards, backstage, we all laugh about it, but at the moment.....!"

In view of all the pitfalls, would she like to do another Broadway play? "Would I!" she half-shouts excitedly.

Performing in the company of A Talent for Murder not only provided the actress with her Broadway debut, but also presented the opportunity to work with the legendary Claudette Colbert whom Nancy now regards as a close personal friend. "Working with Claudette was fantastic, just sensational. I learned so much. She's very professional; very disciplined. She's tough, she's bright; she's brilliant and knows a lot about so many different things. We were all young actors in the play, and she was a like a mother to all of us."

The actress leans back and takes a long, deep breath, as if assessing the last hour. A strong, quiet, confident young woman, she looks the epitome of success and fulfillment. To an observer, this winning role was written expressly for her. But for Nancy Addison, there are still miles to go, just how many, she isn't sure. "When I can really look at myself and say, 'hey you're successful,' when what I've done is enough for me, then I'll feel my own sense of having accomplished what I had to do."

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