28 minutes ago, SoapDope78 said:

Mart appears in swim trunks in this 1979 episode with Rita. I noticed this aired August 24.

He looks fine!

The thing that offends me about Ed in this episode is that hideous yellow suit.

The 70s....sigh. My dad had suits in pastel colors, too. My mother hated them.

Ι remember an episode with Ed and Kelly crying together, it looked as though they were breaking up.

It seemed to me that someone had a lot of fun with the scene for a specific audience, knowing that the others would not even suspect what was implied.

Edited 21 hours ago21 hr by Sapounopera

I looked it up, and it was not even mentioned on IMDB, but it was the real Ellen Foley. It was one day, maybe just one scene, of her playing Hope on the phone. About Alan-Michael.

I was watching with a group of other people my own age who knew her from her collaboration with Meatloaf and her own single, Young Lust, so there was no mistake. We were all shocked, even exstatically hopeful that she would take the role... and there was the announcement "the role of Hope Bauer is being played by Ellen Foley" or we might not have even processed it was her. I knew her from radio but not her broadway past. Certainly not by appearance but my friends who knew better confirmed it.

It must have been just prior to her time on Night Court. By then I knew it was the same person.

Sorry I should have tagged several other posters.

Rough week

1 minute ago, Stevel said:

I looked it up, and it was not even mentioned on IMDB, but it was the real Ellen Foley. It was one day, maybe just one scene, of her playing Hope on the phone. About Alan-Michael.

According to Wikipedia Foley appeared on Night Court during the 1984 - 1985 season. Elvera left GL late November 1983.

Do you remember who she was talking to? Was it her father or Alan?

The last scene of Elvera as Hope that's been available to see is the one where she talks about the divorce with Alan and tells him off, then leaves. That seems to be her last scene, but I've wondered for a while now if she did any scenes after where she tells people she's moving to New York. I don't remember that from watching the show during it's original run.

If Elvera had already left and they wanted to explain what she was going to do next, then hiring someone briefly to explain it would have made sense.

Ellen Foley also appeared on OLTL.

Lucy Ferri Ritenburg was a huge part of GL's first two decades. She finished up in 1974.I hope she enjoyed her retirement. I wonder if she kept watching or made a clean break?

THE DAILY NEWS, TARRYTOWN, NY, UKDAY, SEPTEMBER 24. I967

NEW YORK-Lucy Rittenberg is one of the most unlikely looking and best qualified television producers you will ever come across. For the past 17 years, Lucy has been associated with the daytime drama, The Guiding Light, beginning as a production assistant. Today she is executive producer. The spry and slender Mrs. Rittenberg looks quite like a healthy young sapling. And one can almost see her being buffeted by the variety of windy problems that blow daily through the world of soap operas. "Oh yes, you have to have a certain resiliency to stay in this business," Lucy admitted. " I know many people, producers and directors mainly, who can succeed with other types of shows, even the best, but would crumble here. "Most are rock hard and demanding like any good executive. But you can't be like that in daytime dramas."

Lucy again reminded us of the sapling who takes the wind and bounces back while the staunch old oak is uprooted and blown into the sea. "People have often asked me what the secret of the daytime dramas is: what makes the audience relate so much to the actors and the situations. If there is a good answer to that, it must be an all encompassing one. "I hate to say that our whole production crew is like a big family. It's so corny and trite, but there is no other way to say it. And it is that that makes the show. And any other show like this one. "If you don't have a well knit, completely coordinated an d smooth running machine to put on a 15-minute or half-hour show every single day, you are never going to be successful. Not because you won't get a show on the air. "Anybody can get a show on. But getting one that will hold the audience is the trick. It is a total effort from scenic design ers to script writers and carpenters to cameramen."

Mrs. Rittenberg knows what she is talking about and she learned It the hard way. She came to New York to become an actress and like the thousands of other bright-eyed and disappointed youngsters, wound up a secretary instead. Fortunately, she was gal Friday to a lady radio producer who introduced her into the wonder world of the soap operas. "I've seen all kinds of changes," she admitted, "right from the radio-TV transition, to the introduction of tape and now into color. "And I've lived through every joy and tragedy known to the human race and a few unknown . . . not only in the story lines, but in the lives of all the people in the crew with whom you must be on close, even intimate grounds. "And sometimes when the 6 a.m. to 9 p.m. grind, five-daysa-week, starts to eat me up. I wonder what I'm doing In this crazy business. "But that lasts for about five seconds. The thought of being in any other business scares me stiff. I love this. I really do."

Apparently she appeared on AMC as well. Missed that.

I think she was talking to her father Mike Bauer, or maybe even Bert. I think it must have been very shortly before her time on Night Court. Even that came as a surprise.

When I try to picture it I think of that Lecy actress from Roseanne etc. My friends were much more familiar with her pedigree than I was. I hadn't known of her Broadway past and had trouble believing she was the same Ellen Foley as the singer of "Young Lust"

I wonder if it was a bit of stunt casting, or just a friend at GL who needed a favour.

I absolutely remember the typical recast announcement and thought it was just some actress with the same name, but my friends were all "that's really her!"

1 hour ago, Stevel said:

I wonder if it was a bit of stunt casting, or just a friend at GL who needed a favour.

Apparently, she also briefly appeared on SFT and EON.

I would like to believe that when Elvera's contract ran out and they realized they hadn't given a reason for why she was no longer around, they asked her to do a few more episodes off contract and she told them to stuff it. Necessitating hiring someone to plug in a scene explaining where she was.

Come to think of it, it's super-odd that they spent something like five months blowing up Alan and Hope's marriage so they could boot her off the show, and then forgot to write a scene or two explaining why she was no longer in SF.

So I was looking around for more information about Foley and ran into what was a "fictional" interview with Julia Barr (Brooke, AMC) where it says she was being hired to play Hope Bauer in 2007.

I think this is supposed to be promoting fanfic, but at the moment I can't find it (people in the comments took it seriously).

Julia would have been a phenomenal Hope. Too bad it wasn't for real. Anyway, here it is:

Edited 41 minutes ago41 min by DeeVee

2 hours ago, Paul Raven said:

Ellen Foley also appeared on OLTL.

Lucy Ferri Ritenburg was a huge part of GL's first two decades. She finished up in 1974.I hope she enjoyed her retirement. I wonder if she kept watching or made a clean break?

THE DAILY NEWS, TARRYTOWN, NY, UKDAY, SEPTEMBER 24. I967

NEW YORK-Lucy Rittenberg is one of the most unlikely looking and best qualified television producers you will ever come across. For the past 17 years, Lucy has been associated with the daytime drama, The Guiding Light, beginning as a production assistant. Today she is executive producer. The spry and slender Mrs. Rittenberg looks quite like a healthy young sapling. And one can almost see her being buffeted by the variety of windy problems that blow daily through the world of soap operas. "Oh yes, you have to have a certain resiliency to stay in this business," Lucy admitted. " I know many people, producers and directors mainly, who can succeed with other types of shows, even the best, but would crumble here. "Most are rock hard and demanding like any good executive. But you can't be like that in daytime dramas."

Lucy again reminded us of the sapling who takes the wind and bounces back while the staunch old oak is uprooted and blown into the sea. "People have often asked me what the secret of the daytime dramas is: what makes the audience relate so much to the actors and the situations. If there is a good answer to that, it must be an all encompassing one. "I hate to say that our whole production crew is like a big family. It's so corny and trite, but there is no other way to say it. And it is that that makes the show. And any other show like this one. "If you don't have a well knit, completely coordinated an d smooth running machine to put on a 15-minute or half-hour show every single day, you are never going to be successful. Not because you won't get a show on the air. "Anybody can get a show on. But getting one that will hold the audience is the trick. It is a total effort from scenic design ers to script writers and carpenters to cameramen."

Mrs. Rittenberg knows what she is talking about and she learned It the hard way. She came to New York to become an actress and like the thousands of other bright-eyed and disappointed youngsters, wound up a secretary instead. Fortunately, she was gal Friday to a lady radio producer who introduced her into the wonder world of the soap operas. "I've seen all kinds of changes," she admitted, "right from the radio-TV transition, to the introduction of tape and now into color. "And I've lived through every joy and tragedy known to the human race and a few unknown . . . not only in the story lines, but in the lives of all the people in the crew with whom you must be on close, even intimate grounds. "And sometimes when the 6 a.m. to 9 p.m. grind, five-daysa-week, starts to eat me up. I wonder what I'm doing In this crazy business. "But that lasts for about five seconds. The thought of being in any other business scares me stiff. I love this. I really do."

Thanks. This is a refreshing interview compared to the egomania of many producer interviews.