I am a new member, and in an earlier post on the defunct, "Best of Everything," I mentioned that I had also watched "Secret Storm" as a youngster during my grammer school years. It's neat to see such young people expressing what I hope is a genuine interest in the program, (and rather surprising for me--as I have a nephew who's 20). In any case, Carl and Amello both very kindly requested further dope on the show, and at the risk of dating myself, (I'm 53) I will be happy to oblige. This is off the cuff, stream of memory posting rather than an in depth plot synopsis, which I would be, in any case, unable to completely supply, and which I believe has been documented in several books available at the public library.

"Secret Storm" aired in the late afternoon, and, thus, like the "Edge of Night" was comparatively easy to see after returning home from school. (depending on any number of other factors, such as haircuts, dental appts. etc)--my point being, that in those pre-VCR days, there was no such thing as "time-shifting" so that what you missed--you missed! Nor, were there newspaper soap synopsis, which are common in the TV pages of many daily's today.

I suppose, the best place to begin is the line up of players as I recall them, which I am sure, will leave out many worthy people--but the ones that really stuck in this then kids' impressions.

Marjorie Gateson, a veteran of stage and screen, who looked like a rather more aristocratic version of movie actress Helen Twelvetrees, (who was before my time!--but you can research her and get photos on the WEB) was I would say "the star" in terms of her centrality, when I began seeing it in the mid 60's. Those of you reading this, can "see" Marjorie Gateson via Cable TV or home video, as she appeared in many films of the 30's and 40's in roles that somewhat anticipated her performance as "Grace Tyrrel" on "Secret Storm", (hereinafter SS). She was in fact, the genteel, grande dame, of a type no longer in existence in our "popular culture" as they say.

By way of a side bar, (and I say this in reference to Carl's kind reference to the Guiding Light clips, which I watched and brought back many memories--Lynne Adams, and Fran Myers, (who always specialized in these neurotic scenes)GL was very much of a middle class show, that is, the Bauers, with Old World Papa, hard drinking, (and despite the necktie, blue-collerish Ed)--strong medical/hospital tie ins, department store furniture, and with women in the cast that looked like women in one's own neighborhood--not, (at least in the 60's--it changed later I'm told) a glamourous show.

SS was not that way. Its tone or flavor if you prefer, was altogether upper crust, its fictional setting, "Woodbridge" would have been more like Westchester, Ct--well heeled matrons with sucessfull husbands, comparatively chic settings, with antiques etc. Not that there weren't characters from lower rank-there were, I'm just referring to the tone.

Which leads me back to Miss Gateson (Grace Tyrrel), who was the heiress and controller of Tyrell's Department Store. Grace led a gracious life, and had the kind of flawless diction what doesn't hear anymore. Her maid was none other than Margaret Hamilton, (yes the Wicked Witch of the West) who would do SS during the day when she was appearing at night on the Broadway stage, (very common at the time for daytime actors to be on stage at night--how did they ever learn their lines!!!)

I can see, Grace Tyrrell in one of her expensive dark suits, or "daytime dresses" trying to reason with her willful daughter--Pauline as they both sat before the silver tea service with Margaret Hamilton serving in full maid's uniform (the movie buffs amongst you may know that M. Hamilton frequently played domestics on screen and stage).

The "Woodbridge" context then, was of a conservative town, where "quiet" wealth counted, and reputations mattered. Today it would be called snobbish.

Now, in Pauline, the ever hand wringing, (or should I say handkerchief wringing since women still carried embroidered handkerchiefs) Grace--had a tigress by the tail.

And not really by the tail, since Pauline almost always had her own way! By the time I watched Pauline, (played by Haila Stoddard--one of the really formidable stage actresses of the 20th century--in the original cast of "Who's Afraid of Virginia Woolf"--she also moonlighted)Pauline was married to Arthur Rysdale, who was the publisher of "The Wooodbridge Clarion" the town's leading newspaper.

Pauline, (very nordic, blonde, and stylish with an almost little girlish voice that concealed a real schemer--think of sort of a blonde Tallulah Bankhead type) was always "up to something". And it was hard to imagine her as Grace's daughter--since Grace was so virtuous (rebellion I suppose).

In the mid 60's, Pauline's son Kip Rysedale, was very much front and center, and involved with several of the women in the cast, all of whom were vying for him. Nice looking, in an earnest, polite way, Kip loved Amy Ames, and Janet Hill (Bibi Besch) simultaneously, before he was written out, by being called up to military service, in Germany, and later Vietnam, (though he wanted to be a doctor). Kip was the object of much attention during the 1964-1966 time span and was on very frequently. He is also, of a type, I think a vanished breed today, well bred, well spoken, well coiffed, and in a neck tie usually--and very young--say 25 or so.

Bibi Besch, played Janet Hill, and I can't remember exactly how she came into the cast, but she was very much a trouble maker and was married to a man named Bob Hill, whom I remember, but not too much about. She was related to Valerie Hill, (more on her later) who married Peter Ames.

Sorry this is so disorganized--rather stream of consciousness, but bear with me.

Peter Ames, had of course, been at the very beginning of the show, some ten years before I joined it. As you may know, he was a widower, with two children Jerry and Amy Ames.

By the time I was SS, Peter Ames was played by Ward Costello. Peter had a VERY troubled history with Pauline, which was still very rough in the mid 60s, and included hostility to Valerie Hill, (because Peter loved her and not Pauline.

His children, Jerry, Susan and Amy were continuing focal points, (particularly Amy) for nearly 20 years.

Valerie Hill, (played by Lori March) is probably the woman I most associate with SS during the period I watched. She came on about the time I started to watch, and was on when I stopped, (Marjorie Gateson had a stroke in 68 and never came back). At that time, (no longer I believe) the CBS serials had a heroine, usually a woman in early middle age, who was attractive, and a paragon of virtue. At that time, (and in order to distance her from the schemers and vixens) the heroine embodied honor, nobility and chastity. She was the woman, the female viewers viewed as "their sister" and with whom they would commisserate with.

Lori March was SS's heroine in the second half of the 60's. Her speaking voice was creme de la creme--she was "finishing school" material, and so it was, perfectly natural, that long widowed Peter Ames would marry her, which he did, (and I can remember the wedding with her little pillbox hat and veil). Jerry and Amy took to Valerie, though Susan had reservations.

Now to Peter's children.

Jerry was an amiable young man in the second half of the 60's--I remember his presence, but nothing very particular. His sister's however, now that's a different story.

Susan Ames, (Dunbar--married to Allan Dunbar when I watched) was a complicated woman. The role was played by Judy Lewis during my days as a viewer. Miss Lewis was the daughter of screen super star Loretta Young. Though supposedly adopted, I always felt that Miss Lewis looked much like her famous Mom, and it has since been suggested that she was in fact really her natural daughter.

Susan was a fascinating lady, deep, ruminative, attractive, but very reserved and not quick to shower affection on Valerie or anyone else. When I started the show, she was married to Allan Dunbar, (can't remember who played him first--sorry) who had a drinking problem. I remember Allan pouring liquor from cut glass decanters in the middle of the day--he also got sent to Vietnamn--and was declared dead--which lead the way to Susan and Frank Carver, (Laurence Luckenbill). She had a little blonde son, named after her father and called "Petie" who was featured quite often.

Am going to have to run off in a minute--getting a bit exhausted as it heads toward 1:00 a.m. here--will have to pick up on more later--we'll get to Amy(Jada Rowland), Belle (!) (played by beautiful Marla Adams), Joan Crawford, Belle's daughter Robin, movie star Troy Donahue, (yes he was on as a villain--and what an end he met).

SS was moody, really moody and that's not a cliche--it was serious--and didn't pander too much to an audience craving stupidity. Scenes were intense and the acting was good. The sets were evocative and I remember details of the homes, (Valerie's particularly) since I was interested in set design at that time. And every living room had a stocked bar, with a loaded ice bucket and tongs! for mid afternoon "jolts". I once asked my mother why our liquor wasn't out, and "ready always" like it was in Woodbridge.

And the clothes. The feminine viewers must have had a field day at the elegant wardbrobes, (women didn't wear slacks then--jewelry, heels, the works--every day. So noted were the clothes on SS, that the New York Times wrote a feature article in 1964, on the kinds of dresses sported by the different generations of players, (Grace, Valerie, Pauline, Susan, and Amy were all photographed for it)--sometimes the actresses liked them so much they bought them for themselves).

I have several stark memories, one of which I'll close with.

October 1966--A character by the name of Brooke Ames is causing major trouble. Brooke is a villainous par excellence and she really has it in for Valerie. Can't remember her origins or what her particular plot motivations were. But one scene I'll never forget.

Brooke, (a very expensive looking model type with Scavullo style lips and hair in a tight chignon) takes a pair of scissors out of the drawer, and stabs her hand. As she wraps her bleeding finger, she phones Valerie.

I can still remember parts of the dialogue: "Valerie, can you come over--I've just cut myself pruning some roses and I haven't an antiseptic in the house" She smiles in tight close up as Val agrees to come and she hangs up the phone.

Valerie arrives and moments later the confrontation with Val that Brooke wanted ensues.

Brooke spews all her venom at Valerie, at which Valerie says, "Brooke you haven't a sparkle of honesty in you".

At this, Brooke picks up a letter opener from the desk and tries to stab Val. In the struggle between the two women that follows, Valerie accidentally stabs Brooke who falls to the floor dead.

"Brooke, Brooke...Oh Dear Heaven" Val turns to survey the dissaray the fight has created, cups her hand to her mouth and flees...the organist really had a job on his hand that days, as the throbbing chords punctuated Val's flight.

No less than famous British writer Alec Waugh, (brother of Evelyn, "Brideshead Revisited" Waugh) wrote an article in the "National Review" about his addiction to "Secret Storm" at this time, and how he dreaded leaving the US to return to England since he would have to miss it, and his friends would have to keep him up on the plot on transatlantic telephone calls. It had an appeal to intellectuals.

Don't know whether this disorganized rant has been any help. Hope so. And please excuse typos as I was rushing.

All best,

BU

From the July 1971 Daytime TV. Sterling's Magazines, Inc

Edited November 22, 201014 yr by CarlD2

which she shares with two other actresses. The room is furnished with three lockers, three chairs, and a long counter with mirrors above it.

At 12:45 she goes to the Makeup Room on the third floor. She has until 1:15 p.m. to have her makeup applied, her hair rolled, dried and set...her wardrobe chosen, and put on...and her lunch eaten. Usually the lunch is an expendable item - like yogurt and iced tea consumed standing up, between scenes, on the set.

At 1:15 p.m., she walks down the stairs to the second floor and the stage.

During the next two hours and five minutes, she and all the personnel of the show concentrate full tilt. Outwardly, she is going through the motions...dialogue, movements, entrances and exits are being executed for the technicians. Inwardly, she is working to pace her energy so that it doesn't dissipate.

That couch that she has to sit on sinks down in the middle...and everything stops until another couch is brought in. That microphone shadow shows in the cameraman's picture...and everything stops while there's a brief conference between the lighting director and the camera director and the cameraman. The lighting director gives in and moves a light. And on and on...all being guided by the director who communicates only by voice.

His voice sometimes comes booming out from nowhere. ("Big Brother is watching!")

The first act is blocked, then the second, the third, fourth and fifth. The clock on the studio wall reads 3:20.

There's 5 minutes for the makeup man to do the final touch-up...for the hairdresser to come a few strands in place and spray...and then the stage manager calls places for Dress Rehearsal.

The entire show is then performed, with no stops, from 3:25 to 3:55. Both technical and acting performances are watched closely and notes are taken by the producer.

From 3:55 to 4:45, these notes are given to the actors and the technicians, who now must carry out the corrections. Then the performance is repeated, only this time for real, on tape, which will be shown on the air.

At 5:15, the video tape has been checked for any mistakes, and then the cast is released.

I bet a lot of soap stars wish it was still like this! The pressure to get it right live on tape must have been ulcer-inducing, but a 10:15 call!? Heaven. And out by 5:15!? Best job in the world. (Except for all that pesky memorizing. )

Edited November 6, 201015 yr by SFK

How long was Diane Ladd on Secret Storm? IMDB says 71-72 but that doesn't really mean anything. What stories did she have? Was she the last person to play Kitty Styles?

I didn't know she was on soaps. I have always seen her as someone who would have been great on soaps (imagine her as a Frame on AW), so I'm glad she had a little time on them.

January 1972 TV Dawn to Dusk (Ideal Publishing Corp).

your partner then you must love his feelings as well. Your feelings...his feelings...they are what you both are.

"You give your mate the book. You hold hands. You read what is written with no comment. You say, 'I didn't know you felt that way...tell me more.' You listen. 'Tell me more.'

"The group meets from Friday to Sunday and you come away from it a different person. The group forces us to tear down the blocks we have created...which is what we call want. Society suppresses the individual...the group makes the individual come out.

"In America, if we can only learn to listen to each other. I see both sides of the coin...the establishment and the youth of our country. If we can only hear each other out. In this big country of ours, there are lots of people doing lots of good things. To me, America is liek a family...we argue...we fight...we quarrel...discuss...but we must unite.

"About my own family...well, it's the same way. But through it all, there must be understanding for each other. I think the most wonderful thing you can give a child is understanding.

"I have one daughter, Laura Elizabeth. She's four. Billy has children (by another marriage) too. If I can do anything important for my children it's that I make them aware of their minds and their bodies. That's why I feel it's important that they be exposed to swimming and ice skating and dancing. And they should learn the thrill of accomplishment...of hard work and discipline as well as the reward of getting a job done and the love of doing that job.

"Look, to me life is a sort of travesty...but we've got to care and make the most of things. And we've got to be honest. I can't play the ostrich game. I can't hide my head in the sand and not care or see what is happening. And I want to know where I stand. I hate hypocrisy.

"I'm an actress. I'm not in the business to give autographs. I've got a lot of things going for me now, and one of them is a good marriage. Let me tell you something, a good marriage is the most phenomenal thing...and it's hard to come by."

Diane sits back and smiles. It is reaffirmed...there is something so striking, so magnetic about her. And you think about what Walter Winchell once said about her. It was in Vegas, and the columnist was performing and Hollywood's finery was all dressed up for the occasion. He introduced all the starlets in the audience...one by one. And then the last one he introduced was Diane...she, he said was destined to be one of the greatest stars of our galaxy! He was right.

By M.J. Bevans

A follow-up to my Diane Ladd question, from June 1972 Afternoon TV.

Diane Ladd has been written out. We spoke with Diane and she was not too glum but would like to get on another show. Diane was recuperating from a very bad flu which forced her to bed for many days.

They also say that SS and LIAMST got "warning lights" on their ratings - pick up or be canceled.

Diana Millay was the first Kitty. I have never read of how Kitty was involved in the storylines at the time.

This is from the October 1971 TV Dawn to Dusk (Ideal Publishing). My scanner is a little iffy right now but I will type up the article. It's an interview with the producer at this time of Secret Storm and Where the Heart Is.

Please Don't Refer to Chuck Weiss, Executive Producer, As Scrooge

Many's the time you've seen those credits whirl by, and probably wondered to yourself, Executive Producer, hmmmmm, what does he do?

Chuck Weiss, whose name appears under that impressive title both for Secret Storm and Where the Heart Is, promptly points out, "I do not do as much in the studio as the producer does. My work is mostly with the writers."

Rangy, buoyant, quick-witted, at 32 Chuck easily could pass for a young leading man on one of his shows, but he has absolutely no inclination to be an actor. "I like," he says, "being a producer very much. To me, the producer's function is to get the right people together, the right combination of creative people, to give them the kind of stimuli they need to keep their brains working, and to get the best out of them. I get great joy out of watching it happen."

Although he does not personally supervise rehearsals or the actual televising of his two serials, he does ultimately make all the major decisions. These include casting, negotiating contracts, overseeing and approving all new sets, and above all, meeting endlessly with the writers to iron out script and story problems and to plan ahead for future developments in the plot.

What with Chuck's attending actors' auditions, each show's daily dress rehearsal, story conferences, business conferences, production meetings, and his reading and analyzing weekly story outlines, daily script breakdowns, plus ten scripts every week, he can justifiably say, "It's an impossible job. I haven't had a vacation in three years. I'm sailing to Europe in a few weeks, and I don't care if this building falls into the river."

The building, of course, is the enormous CBS production center on West 57th Street in New York City, from which both shows are televised, and where Chuck has a warmly panelled office.

One of the constant concerns of a man in his position - and of any TV program executive - must be with how large an audience his shows attract, as measured by the rating services. When the rating falls, he says, "I spent a lot of time figuring out why. If it rises, I'm very happy.

"If the rating drop is chronic, and there doesn't seem to be any way out, you get new writers. I don't like to do that if it can be avoided, because I think it's better to work with people who are familiar with the show. But if the writer doesn't know what to do with the story, or it isn't going well, you have a hard decision to make.

"Changing a writer means a period of adjustment, for the show, the actors, everywhere. The heart of the show is really the writer. No matter how you cut it, the writer is the person who keeps it going.

"I frankly think that if a writer and a producer have decided on a story and they think it's good, they should have some faith in it, and let it go for a while, not jump the minute it drops two rating points, and say, 'Oh God, we've got to change it.' Usually the stuff that you change hasn't yet been aired. So how do you know it's not going to work?

"If we find the audience in previous weeks was, say, more interested in Sean and Amy, then we realize they're less interested in another area of the story. So for the immediate future, we would try to concentrate more on the Sean-Amy story, while we fix the other stuff. Hopefully, we then can have two good things running at the same time."

Mr. Weiss' story planning also encompasses things like focusing more heavily on younger people during the summer to attract kids who are home from school, and avoiding peaks in the action during holiday times when audiences generally shrink.

For him personally, peaks of excitement come when there's a spectacular episode, as for example when Mary Hathaway got pushed down the stairs by Vicky on Where the Heart Is. "It was," he glows, "really super. We got a stunt girl in, did the actual fall, and shot it with cameras up on cranes, so we could follow her down the whole flight. It was beautifully done. I was very proud. Everybody worked hard to get it.

"We also turned it into a dream sequence that Vicki remembered afterward, using a slow motion disc and some strange color stuff. I think it was as good as anything that would be on at night, if not better. And the ratings went up."

He then went on to describe how the terrifying car crash was accomplished on Secret Storm. "You put Amy and Mickey in a car. You project chromakey filmed landscape onto a screen behind them. This is the same technique they use on the news, the images you see behind the newscaster. Anyway, we put that behind our actors, with lots of snow coming down, windshield wipers going, traffic noises, sounds of the car speeding, 'Oh my God!,' and screech of brakes. The camera moves in on the persons, their fear and horror, and you go to black.

"What we did with this particular crash, was toward the end we ran it into slow motion. Then we stopped on Amy's face, screaming behind the windshield, and went to black.

As much as he enjoys unusual scenes like these, Chuck also has reservations about them. He feels, "A good strong emotional scene where something is happening with the actors is really far better than a gimmick to end a show, wrap up a story, or create a high point. Besides, you can't do it too often, or the bloom would be off the rose."

Chuck's chief headache as a producer is illness among the actors. He shuddered, remembering when Diana Van der Vlis (Kate Hathaway) came down with chicken pox, shortly after Stephanie Braxton (Laurie Stevens) had contract the disease. He was terrified it might spread all through the studio.

Substitute performers have to be brought in to keep the show going, and the viewers complain bitterly about these substitutions. He recalls, "When Terry Kiser (Sean McGonigle) got sick, and we had to replace him for a few days, the phones started ringing from all over the country. Letters came in raging. 'How dare you do that to us!'"

Perhaps the most painful feature of Mr. Weiss' job is the necessity occasionally to fire people. "I hate it," he laments. "I just pray people do their work well. The actors, however, understand these things. They feel bad, and I feel bad, but sometimes you have to call one in and say, well listen, it looks like Hugh Claiborne and his wife, Jill, are going to go down in a plane crash, just around Christmas Eve. It was not expected, but we find out we've got to do it for story.

"I was at a wedding in Pennsylvania just after the segment featuring the crash occurred. Some women found out that I produced Storm, and I was practically attacked bodily for killing those two people. How could I be so mean? And just before Christmas! They called me 'Scrooge.'"

Chuck has also been on the wrong end of some wildly outraged phone calls. When he was with Love Is a Many Splendored Thing, Iris, he relates, "was going to be married. She'd run away from her first wedding, and coming up was her second or third time. A woman viewer called up and said that she was having all of her friends over for a wedding party for Iris and if Iris didn't show up at the altar, she would be so embarrassed, so furious with all of us, she would never watch the show again.

"And all I could say way, 'Madame, you'll have to watch the show.'

"Iris did not show up, and the phone rang off the hook from all these people. Then this woman from the Bronx called in, and she was furious. She said, 'I had all these people over for her wedding, and I have never been so embarrassed in my life!'"

Chuck began the climb to his present position as a production assistant with CBS News and public affairs about ten years ago. In addition to working on such CBS series as Accent And Chronicle, and such dramatic specials as The Life of Charles Dickens, has he co-produced a feature film directed by Mai Zetterling, an off-Broadway revival of Truman Capote's House of Flowers and has been associate producer on the now-defunct ABC soap A Time For Us.

He returned to CBS as associate producers of Love Is a Many Splendored Thing three years ago, subsequently was advanced to producer of both that show and Secret Storm. "Then," he relates, "they asked me to take over Where the Heart Is because it's in trouble."

To relax, Chuck retreats almost every weekend to a house near Woodstock, New York, about two hours from the city. "I'm a bachelor," he admits. "Doing these shows, I know what marriage is like. I mean, it's fraught with problems. Being a bachelor is much simpler."

Chuck's home is on a 56-acre property, with a blue stone quarry in the woods for swimming, and a living room with a wall of glass looking out on the Catskill Mountains. He's recently added a glass and stone hexagonal adjunct containing two bedrooms and a kind of wild bathroom - the tub surrounded by blue stone and Italian tile floors.

For the future, Chuck thinks television is going toward cassettes. "There are," he believes, "people who want better programming. And I think they're willing to pay for it. I know I would be. I don't know what the networks are going to do, but I don't think this kind of programming is going to last forever. It can't."

By Albert J. Zuckerman

Great to read behind the scenes stuff,rather than actor interviews (do enjoy them also!)

Chick Weiss went on to The Doctors in the late 70's but disappeared from the soap scene.Wonder what happened to him? He was still young and surely would have been a useful asset to any show.

Yeah I was shocked to see an interview with a producer in here. That seems pretty rare for this time. I also wonder what happened to him. I didn't see him listed in IMDB.

The story about the car crash was interesting, and about the Claibornes. What do we know about their characters?

So was Weiss still producer when SS was canceled?

I hope Brent is still reading the thread.

"I don't know what the networks are going to do, but I don't think this kind of programming is going to last forever. It can't."

It ain't.

I watched this show a bit too. Jill Clayborn (played by Barbara Rodell when I was watching) was Amy's good friend. I remember there was a big fan uproar when the Clayburn's were killed. They left behind a daughter, who I think had been SORASed to a young teen in a short amount of time. I can't remember her name but I believe she lived with Valerie Ames & her husband, Dr. Ian Northcoate.

I vaguely remember Dianne Ladd on the show. I may be totally off on this, but for some reason I believe her character was somehow involved with Alan Dunbar when Liam Sullivan began playing the role. Alan had become quite psychotic because of his war experiences. I seem to recall that he was murdered and Susan went on trial for his murder.

I had started watching this show because Joel Crothers had joined it after leaving Dark Shadows, and he had been one of my favorites on there. I only remember that his character was named Ken but that's about it. He stayed only a couple of years.

Edited December 2, 201014 yr by jam6242

Thanks for sharing your memories. I remember reading about Barbara Rodell being on SS. I didn't realize it was this role. How odd that they chose to kill the characters off.

I guess Diana Millay must have played Kitty sometime in the early 60s? Was it before DS?

I know Joel Crothers left DS for SS. I know that Somerset was the show that supposedly made him into a popular leading man but I'd like to see his work on SS.

Were you watching during the time that they had the priest or artificial insemination stories?

I don't know if you're interested but I have an interview with the guy who played Ian Northcaite. I will type it up later tonight or tomorrow. Apparently he had been out of acting for some time and had been a director, but some of the crew at the show thought he looked like the part.

I don't remember Diana Millay on the SS, so she must have been on in the 60s. I think Joel left DS & went to SS around 1969 or 1970, not long before DS went off the air. It must not have been an important role because I can only vaguely remember him on it. Now that I think about it, I followed Joel to Somerset & Edge of Night too, so I guess he was one of my favorite soap actors!

I do remember the story with the priest, and I believe Gary Sandy played his brother. I seem to recall something about a scene in a barn, involving a pitchfork. I'm going to have to think about that one!

I remember when Kevin Kincaid was paralyzed but for some reason I don't remember the artificial insemination. Did you know that Dennis Cooney (Jay Stallings on ATWT) was the first Kevin Kincaid?

I would love to read the interview with the Ian Northcoate actor. Which one is it? They both were similar in appearance but I remember Alexander Scourby's (the last one) voice being so beautiful. If the interview is with him, I'm assuming you know he was married to Lori March (Valerie) in real life.

No I didn't know that about Dennis Cooney. I wish I could see some of his soap work.

Yeah, a few pages back, some of the posters talked about the scenes where the brothers fought and their mother, Frances Sternhagen, fell on a pitchfork. I also read something about a story with someone looking in a mirror and seeing something about themselves, do you remember that?

The interview is with the first Ian, it looks like. IMDB says he also played Owen. Were there twins?

January 1972 TV Dawn to Dusk (Ideal Publishing Inc).

Edited December 2, 201014 yr by CarlD2