Thanks. I've never known how to do that. I just end up posting the link and then the video shows up.

It's the little chain-looking icon next to the smiley face in the post screen. You click on that and paste the link in the box. There's also another box below it where you can name the link like this:

EARLY MAURA- Carly and Mike do the Nasty

Thanks. It's funny I just watched those last week. I've been trying to make my way through ATWT from the earliest years on Youtube to up to about 1994 or 1995. I don't have the stomach for a lot of the show after that.

1995 was pretty awesome, thanks to Maura's arrival as Carly and the Rosanna/Mike/Carly triangle.

God, re-watching those Colleen scenes and now the vintage Maura is making me miss the hell out of ATWT. Hard to believe it's almost been a year.

wedding took place in October, on camera, anyone with any imagination or perception could have heard the sighs of relief and happiness that covered the country. Even the officiating minister added to the realism of the occasion. The Reverend Sidney Lanier, assistant rector of St. Thomas's Episcopal Church in New York, was already familiar to many in As the World Turns' large audience because he had appeared on TV before, including the CBS religious series, Lamp Unto My Feet.

In a sense, all this was a kind of personal triumph for Mark Rydell. As Jeff, he had been a rebellious and spoiled rich boy, with a reputation for getting involved in trouble. After Jeff met Penny Hughes, there been a turning point. For her sake, he wanted to become the man he knew he could be.

"Our audience was sensitive to these changes in Jeff," Mark observed. "In some ways, his hostility and rebellion, his search for maturity, had paralleled my own. I had welcomed the opportunity to live out some of my own problems in Jeff. So it was especially satisfying to me when the mail began to pour in."

Mark's early rebellions, in his teens, were many of the usual ones of teenagers. against parents who, he thought, didn't understand him - and whom he didn't understand. "Now I know they are sweet, wonderful people, so encouraging to me. But then, I thought they stood in the way of what I wanted to do." He rebelled against other authority - school, all restraints which interfered with concentrating on the music he thought was going to be his whole life.

"I almost became a juvenile delinquent because of my passion for music," he smiles. "When I was supposed to be in school, I was downtown at some concert. I literally sneaked out of a window at night to hear fine jazz musicians - men like Teddy Wilson and the late Art Tatum - in night clubs where a high-school boy had no business to be. The doormen got to know me, because I hung around so much, and would let me in. I would sit 'way back in a corner. No one ever offered me a drink - they knew I was just a kid - but I just drank in those wonderful sounds."

He was a student then at the High School of Science, in New York, his home city. "Because my father wanted me to be a scientist. I was battling that strongly. Now my father is happy about what I'm doing. When my name went up in lights in front of the Victoria Theater on Broadway - under those of Sal Mineo and John Cassavetes, in 'Crime in the Streets' - my father found reasons to pass the theater so he could point out the marquee to friends. Or my mother and he would drive past, just so they could look at it again."

Both of Mark's parents play the piano, enjoy music. His sister, five years younger than himself, is talented in dancing and acting, and in writing. Mark himself just "exploded" into music, as he puts it. When he was eleven. "All of a sudden, you discover something you like,and you give it hours out of every day. In two years, I did about eight years of intensive practice. I was playing with school orchestras, at summer resort hotels, for dances and weddings and parties, and I loved it."

At seventeen, a private in the U.S. Army, he looked like a kid just getting his diploma from grade school. Already reaching his height of five-feet-ten, he still had a kind of baby face, with clear hazel eyes under smooth dark hair. Once, while stationed in Tokyo, when he wandered off-limits and into the hands of military police ,he made capital out of his boyish appearance - and out of his flair for acting. He figured the only way to escape punishment was to act the part of the innocent youngster who had been needled into going out with the wise guys in the platoon. When tears actually fell from Mark's eyes, the colonel began to call him "Son." He got off with a reprimand - a sharp one, but nothing worse.

Discharged from service in San Francisco, Mark was still planning to make piano and conducting his career. Most of his free time in San Francisco had been spent in a little place where Dave Brubeck then played, and he heard all the other West Coast jazz greats. His classical training at the Juilliard School of Music in New YOrk, and at the Chicago Musical College, finally took second place to his love of jazz. He loved the beat, the rhythms, the way the instruments made the music part of themselves and it became part of them.

After a while, the rebel in him stirred once more. "I had a great urge to get closer to whatever art I could express. An actor, in a way, is his own instrument. He works only through himself." So he threw himself into acting with the same intensity he had given to music. He studied with Sanford Meisner, then heading the Neighborhood Playhouse in New York (Gregory Peck and Joanne Woodward were among his fellow students). "Meisner kept me under his wing for seven years. I couldn't have had better guidance." He studied at various workshops - a Shakespeare workshop, Richard Nash's, and later at the Actors' Studio, where early this year he was invited to work as a director.

He brought hard work and concentration to this training and he got immeasurable good from all of it. After a while, his TV experience began to pile up - until now he can count some 150 shows on which he has appeared, mostly doing leads. He has played in the dramatic shows of the Alcoa-Goodyear Theater, Danger, The Web, Naked City, to name only a few.

The rebel in Mark Rydell stirred again. "I had been playing villains, was still playing villains. And I should have played villains - because I was a kind of hostile young man. Perhaps the fact that I didn't look like a hard guy made me all the more successful at portraying one. After my first movie, ' Crime in the Streets,' I decided that never again would I be another tough guy until I had proved myself in other parts. I had been working steadily for five years - and this decision kept me out of work for six months, but I stuck to it."

Although Jeff Baker was a difficult boy at first, he was soon to change. Mark welcomed the part - felt an identity with Jeff from the beginning. "Like Jeff, I was beginning to rediscover all the good things which I had been ashamed to admit - the positive human values, the warm and good friendships, the expression of other things besides hostility and anger. I have never played anyone who cares more about these things than Jeff does."

Before their TV marriage, Mark Rydell and Rosemary Prinz were dating in real life. An interesting public waited to hear more. But this turned out to be only good friendship - a fine and happy relationship. It still is. A wonderful and charming girl like Rosemary and an eligible and handsome young man like Mark could find romance any day - but, in this case, not with each other.

Right now, a wife could move in and add only a few feminine touches to make his New York bachelor apartment into a home for two. His grand piano stands open in the living room, used only for his own pleasure now and to entertain friends. He has a fine collection of jazz. His collection of paintings is good - he buys only what he likes. A skyscraper oil, by Victor Risenfeld, was recently borrowed by a gallery exhibiting the artist's work.

In the mid-East-Side neighborhood where he lives, on the fringe of the business and TV and theater districts, people recognize Mark as he drops by at the corner soda fountain or picks up his newspapers at the stand. He considers this a tribute simply to the popularity of Jeff Baker and As the World Turns. In restaurants, he catches sight of women staring at him, forgets for a moment that it's Jeff they recognize. He will start fixing his tie, thinking it must be crooked. "People come up to me and say such nice things," he says. "Such wonderfully warm and friendly things."

For exercise - and to keep the pounds off that his fondness for food and rich desserts might otherwise put on - Mark works out regularly in a gym frequented by actors who go there for the same reasons. Or he goes out to Wally Cox's farm in Connecticut, where the two men chop down trees, even forge some of their own tools. Wally and he became friends when Mark appeared with him in the play, "Moonbirds." He says, "I suppose that Wally is about the nicest human being I have ever met, and he has a lovely wife and daughter. When I visit the wonderful world of Wally Cox, I get a chance to do all the outdoor things that a city boy like me doesn't usually have."

Most recently, he has been working on a play at the Actors' Studio, his biggest directorial assignment to date. It's one of his dreams to continue combining directing with acting.

A few months ago, Mark turned down a nighttime TV series that offered fabulous money. He felt his reasons were sound. Firs,t the job would have moved him to California, away from the New York theater, out of reach of the directing assignments he wants to continue. And second, it would probably have meant leaving the part of Jeff Baker.

"I love the part so much that I couldn't leave it. In a strange way, the little town of Oakdale and the environment of the show has become a home to me. I feel as if I have a life there. The people belong to me, and I belong to them. I wouldn't like to give any of that up."

In a strange way, too, the angry young man - the erstwhile rebel - has found a kind of contentment.

Thanks so very much for the writeup on ATWT. It's a good reminder of when networks had patience nad support for soaps, and didn't expect quick miracles. And of how unique ATWT was.

Of all the soaps that have gone off in recent years ATWT was the one I still felt had the most life in it, even if the last 15 years of the show I was often so upset by.

I agree with you Carl. ATWT seemed to have a lot of untapped potential. I think GL had healthy veterans and bones, but the format it had turned into, it wasn't working, and GL had wasted away a lot of their vets between the Rauch and Conboy eras, hell, even starting with JFP.

It's a shame so much of the past was ignored on both soaps.

I agree with you Carl. ATWT seemed to have a lot of untapped potential. I think GL had healthy veterans and bones, but the format it had turned into, it wasn't working, and GL had wasted away a lot of their vets between the Rauch and Conboy eras, hell, even starting with JFP.

It's a shame so much of the past was ignored on both soaps.

I agree with you two, as well. ATWT and GL had life in them as long as they were well-managed. The problem was that they were woefully mis-managed for years by Procter and Gamble and CBS.

Carl is correct. The downhill slide with ATWT began in 1995 when P&G sacked Laurie Caso. Caso understood the dynamics of World Turns and supported the strong familial foundation. John Valente replaced him and attempted to make the show more like an NBC serial. Then Felcia Minei Behr tried to give it an ABC feel by adding popular actors from other networks and changing the tone of the storylines. However, the true beginning of the end was when Chris Goutman got his hands on the series. He and Hogan Sheffer wanted ATWT to be a reincarnated Edge of Night. Instead of simply adapting the form to contemporary tastes while remaining true to the soap's history, they completely gutted it. Goutman & Sheffer eliminated aspects which endeared the show to longtime fans and substituted it with their juvenile, frat boy mentality of character assassinations, amped up violence, and trivialization of the core characters.

Like Carl, I am alternately sickened and infuriated at what happened to the series. Yes, I realize that at least 2 million viewers continued to find interest in the show, but what about the 6 million of us who were driven away? Another poster mentioned Carly/Mike/Rosanna. To me, this is a sterling example of what went wrong. Who were these characters? They had no ties to the Hughes family. In my opinion, Rosanna was one of the most annoying characters ever, regardless of who played her. She even managed to surpass Lily in getting on my nerves. An irritating ingenue is bad enough, but try one who also has a massive chip on her shoulder. Ok, Mike was cute, but again, he was a typical Marland male: buff, boring, and stupid. I enjoyed Maura West's Carly initially, and the biggest mistake the producers ever made was not keeping her with John Dixon. At least with John she had a purpose and ties to the core vets. When she was paired with Jack, and they gobbled up the show like GL's Josh and Reva, I not only lost interest, I began to actively dislike them for carjacking screen time from the real stars. I never understood why the writers kept bringing in all of these people with no relations or ties when they could have easily mined the Hughes and Stewart families for characters. There were so many missed and/or wasted opportunities, and we were losers.

I thought the biggest problem with Jack and Carly was the material - they had the same story again and again. The show never really let them mature, the way Tom and Margo did throughout the 80's.

The worst part of the attempts at EON is that Sheffer and Goutman were woefully unsuited to that type of material. I don't remember any story in this time ever having any good ending or followthrough.

I never knew why they were so reluctant to bring back any Hughes (except for Chris, again and again). I think they just assumed viewers were too stupid to know the show's history and were ashamed of the soap format and the show's legacy. Even at the end, when Nancy passed away, there was not one mention of most of the family. They somehow managed to mention Susan Hughes, who died before the show began, but nothing of people viewers had seen onscreen and would know.

When Nancy died, where were Don Hughes? Penny Hughes? Not to mention, many others.

I also think the soap missed the boat on Andy Dixon. I would have brought him back in a heartbeat.

Didn't Don have a son (Teddy, then Ryder in the '90s)? Though that storyline sounded badly mishandled. And doesn't he have a daughter?

I noticed whoever was in charge around that time also tried to bring on Dani, to pretty miserable results. You bring her on, then phase out Ellen? What sense does that make?

I dunno, but yeah, ATWT was badly mismanaged for a very long time. GL too. I look at their histories and for fun can come up with tons of material. Not saying it's great, but it was there to be used.

P&G never seemed to really give a damn, considering their constant efforts to infuse the soap with new characters, starting even way back in the 80s when all P&G soaps phased out many veterans. While a lot of new characters took off, I think it started the downfall. The 90s for most soaps seemed to be some effort made but then the 2000s, no real effort was made to bring anyone back from the past.

Well, you can't have everyone have a tie to the Hughes family---you end up with B&B, which is incestuous to the point of ridiculousness. The important point is that there's balance. There were certainly other characters besides Hughes' that could have been brought back. Why they never recast Scott Eldredge (who's still related to a Hughes) is beyond me.

February 1957 TV Radio Mirror.

Well, you can't have everyone have a tie to the Hughes family---you end up with B&B, which is incestuous to the point of ridiculousness. The important point is that there's balance. There were certainly other characters besides Hughes' that could have been brought back. Why they never recast Scott Eldredge (who's still related to a Hughes) is beyond me.

I think the problem with B&B is overusing the same Forresters. There are a lot of Hughes that didn't need to return, but Frannie, or Andy, for instance, could have easily fit back into story. Why not do that instead of bringing back Meg as a brand new character.

I also wish they had brought in Edith Hughes or her and Chris' brother. saynotoursoap uploaded a very rare 1957 episode that shows us more on these characters.

http://www.youtube.com/watch?v=3_k8oF82bvQ

http://www.youtube.com/watch?v=loGVdFM5q04&feature=mfu_in_order&list=UL

Edited June 26, 201114 yr by CarlD2

They took their eye off the ball by ignoring the Hughes and Stewarts and later the Snyders.. One thing that happened when the shows went to an hour and the years went by was that so many characters came and went and the cast was a mixture of several writing regimes.

There should always been a committment to having core characters involved at some level.It is easier to use vets if they can connect with family members.

I think that CBS and P&G thought that by backburning the central families,they would shake off the 'dowdy' perception these shows had. It didn't work.

Characters that were under utilised

Andy Dixon

Frannie Hughes (and her children)

Sabrina

Rick Ryan-he should have been brought back along with Barbara in the late 70's

Kristina Hughes

Ryder

The Ward children

Dee Stewart-again she should have come back and by the late 90's her children would be major players.

Ellie Snyder

Had they not done Frannie/Sabrina and Scott,they could have brought back Chuck Shea by having Lisa discover the son she raised was accidentally switched at birth

I've always wondered what happened with Rick Ryan when they brought Gary Hudson in in 1982. That ended up being so short-lived.

I'd forgotten all about Rick's 82 return,That was such a bad time for the show with lot's of writer and cast changes and dreary stories.

Yeah, it ended his relationship with her. Which at the time struck me as really ironic, since it was about the only lie she ever told on the show. My guess is their relationship lasted a year, give or take. I think she was even pregnant with their son MJ when he broke it off.

It was a really odd hook up---he'd been with her mother, and married to her worst enemy. Marland usually stuck to the "opposites attract" theory, and in some ways John and Iva were too alike---both kind of morose sticks in the mud.

By the time everything came out, I was definitely on Iva's side. Here she had sacrificed to raise this child who Julie really couldn't (saving Holden from a lot of misery, given his new marriage to Lily and the strain the family was already under given the Holden/Caleb feud after the ONS with Julie). It related to her issues so beautifully---having been adopted herself and not being able to raise Lily.

Iva had always been the one who got kicked in the teeth---she got shipped to Henry and Elizabeth's when money was tight, to get raped by Josh. She has to co-mother Lily with a woman who hates her. She has to "accept" her family forgiving Josh, to points (like her being in Meg's wedding party) that it's ridiculous. She loses Kirk to Ellie. Even Emma was very upset with her when the relationship with John came about.

So she spends a year or more rearranging her life to care for Holden's kid, loses John, at one point is raising two toddlers on her own, and when it all hits the fan, Holden basically walks in, demands his kid and she's just expected to hand him over without a word. (At the time, Holden was kind of an emotionless SOB, thanks to losing half his brain...)

I'm always so confused by the timelines with the Aaron story. I know in some mid-1993 episodes John and Iva are back together. I can't remember if he knew by then. In late 1993 he was going to sue her for custody (perhaps that was just for MJ). At the time did you think they had Iva get pregnant with MJ to somehow make up for the impending loss of Aaron?

I have wondered for a while what the story plans would have been for Iva if Doug Marland had lived. He and Lisa Brown were very close friends and I don't know if he would have let them write Iva out, if he had any say in the matter.

What I hated most about the Aaron story is that after Holden took Aaron I don't remember him spending any time with Aaron at all. He just dumped the kid off on people. At the time that infuriated me, especially since Iva was gone and that meant a year and a half of Holden moping about Lily and staring into space. No thanks.

Sorry, I'd forgotten I hadn't finished the Anne Burr article.

smiling at the difference between dream and reality. "Never the way I idealized it. Certainly not at all, since I have been on television. In fact, for one who adores sleeping late and getting off to a slow start mornings. I can say it hasn't worked out according to my plan in any way. Not with a 6:30 rising hour, an on-the-set rehearsal call for 7:30, more rehearsing after the broadcast, lasting deep into the afternoon, for the next day's show, scripts to be studied again at night - I also play Kate McCauley, a newspaperwoman in Wendy Warren and the News, on CBS Radio - and an early bedtime so I can get up again at 6:30 next morning!"

In addition to this tight professional schedule, Anne keeps house for her husband, Tom McDermott, a New York advertising agency executive who works with radio and television. She does her own marketing and cooking, and her own tidying up, with the aid of a cleaning woman who comes in by the day. And she usually has half a dozen "special" projects.

Against this background of busy and happy domesticity, Anne has only sympathy and understanding for this other wife she plays...for Claire, the rejected wife of Jim Lowell, Jr. in As the World Turns. "Claire has been in love with Jim since she was a little girl. He was her first 'crush,' and perhaps it is because she has known him so long that she has never been able to tell him how she really feels. If they had met when she was older and more mature in her emotions, she could probably now handle the whole relationship better, make fewer mistakes. She is basically warm and affectionate, but, like many people who have been constricted by the way they were brought up, it is difficult for her to show her true feelings. Like many of us, also, she is apt to be a little sorry for herself, although she is honest enough to recognize this.

"The truth seems to be that she wants to believe that everything will turn out her way, in spite of all the evidence to the contrary. In many ways," says Anne, "Claire is much younger than her teenage daughter, Ellen, who is more of a realist and sees life as it is, not as she might want life to be. Claire is the kind of woman who must have someone to look out for her, although she would never let you guess it from any word or action of hers. She needs strength in a man as her husband need strength in a woman...and, at this point, neither has found that in the other...

"Incidentally," Anne continues, "Wendy Drew, who is my seventeen-year-old daughter Ellen on the show, is really a wonderful person and I am extremely fond of her. All of us on the show are. I even find myself taking over a real-life 'mother role' at times with Wendy, fussing over her, taking her ot the doctor when she was hit by a studio mike and worrying about her as her own mother would, protecting her. We are all protective toward Wendy, both the men and women in the cast and all the crew and the producer and director - and she is probably the most level-headed of all of us! She has that rather special quality which makes you want to be very good to her. There couldn't be a nicer group of people anywhere, anyhow - a fact that makes the hours of rehearsal pleasant instead of difficult."

The McDermotts were married on June 21, 1953, on a Sunday...because they both had to be at work early Monday morning. They got a belated honeymoon trip. At least Anne did! Tom'scompany sent him to Hollywood on business...and sent Anne with him, as a wedding gift. She spent long, lazy days at the Bel AIr pool, while Tom went to work every morning, the same as in New York.

They live now in half of a lovely, small brownstone house on a pleasant street where old New YOrk has not quite given way to tall and impressive new apartment houses. They occupy the two upper floors of the brownstone, and the owner of the house has the ground floor and basement. ("We have our own front door," says anne, "which makes it seem like a real house, rather than a two-floor apartment.") The McDermotts' "first floor" consists of living room, dining room and kitchen. Their "upstairs" is a bedroom, study and two baths. ("The baths are a luxury, when both Tom and I are rushing to get out to our respective jobs during the same morning half-hour.")

The basic color scheme of their home is blue. A very light blue in the living room, darker blue in the bedroom, natural wood and blue in the study. The dining room, however, has a scarlet Chinese wall paper. ("We did this with our fingers crossed, but the result is charming and we love it.") Furnishings are a mixture of traditional and contemporary.

The study is the room where they enjoy music, records, radio, TV. And books, and quiet talk. Tom decorated one wall with photographs of scenes from the plays Anne has been in, beginning with her stage debut in "Native Son." Anne built the bookcase. "My one piece of carpentry," she smiles, "really not hard to do - except that it took time, and I didn't have much of that."

When she was in the throes of producing this lone example of her skill with tools, she needed some four-inch sanding discs one Saturday morning, and asked her husband if he would stop at the big hardware store near by. Tom, no expert on such matters, got her instructions a little confused, asked for four six-inch discs.

"You must have a very large drill," the man at the store said. "How big is it?"

Tom grinned. "My wife is making bookcases," he said. "I'm just the errand boy."

Some other men in the store began to laugh sympathetically, and that was all a husband needed. "From now on," he told Anne when he got home, carrying the four-inch discs the hardware man had suggested must be right, "I'll do any other shopping for you. The groceries, the meat, any supplies you need. But don't ask me to buy for your carpentry projects. That's all yours!"

Weekends and holidays and through the summer - whenever they can get away - they go up to Old Lyme, Connecticut, where they have a home with Anne's parents. There Anne concentrates on gardening, particularly the flower beds, leaving the more prosaic vegetable gardening to her dad. Whenever there is a spare week or two, theMcdDermotts take off for the Virgin Islands, their favorite island of St. John...where the beach is a miracle of loveliness and there are no telephones, no radio or TV, nor even electricity. No scripts to study, no rehearsals....

Even now, Anne is not quite sure how the business of acting began. She was born in Boston, of a non-theatrical family, lived for a time in White Plains, New York, in England for five years, then in the Midwestern City of Columbus, Ohio. When she was a sophomore at Virginia's Sweetbriar College, she and her best friend decided to go to New York. The friend wanted to get started as an actress Anne wanted to get started as a writer.

"You get some idea of the topsy-turvy way things happened," Anne laughs, "when I tell you that I just finished reading Mary Lee Settel's latest novel, 'Oh Beulah Land, ' in my dressing room at the studio. She was the one who became the writer - and I became the actress.

"We both modeled clothes for Powers, when we first came to New York. I did because I looked like the wholesome outdoor type." (She still does, it might be noted, but with more than a dash of elegance.) "I worked for a radio station, an hour program every Sunday, just for the experience, playing in dramatizations of the great novels. I was also an extra - paid, this time - on Cavalcade.

"I suppose," she recalled, "that what you could call my first real theatrical job was in summer stock, at twenty-five dollars a week, with $21.50 deducted for room and board. After three weeks, it was decided I wasn't even worth that - I was to terribly green! - but, at the time, it would have bent the stock-company budget to pay my train fare back to New York and bring someone else in, so they let me stay on. By the end of the summer, I had learned a great deal and was no longer a liability, although I didn't set any stages on fire."

"Native Son" was Anne's first Broadway play. But, before that, she was let out of another show while it wsas still in rehearsal - and was sure that meant the end of her acting career. However, this story had a happy ending: When there was difficulty casting the ingenue role in "Native Son," Hiram Sherman told Orson Welles about the girl who had been fired. Discouraged, Ann had gone back to visit college friends in Virginia...but they tracked hrer down and hired her. "Native Son," of course, was a tremendous hit. The other play, it turned out, flopped.

The part in "Native Son" was the kind every young actress dreams of. Anne played the girl who was killed - not a long part, but showy and dramatic...even after she is killed, everyone talks about her for the rest of the play. In some ways, Anne still looks up it as the best role she has ever had.

She was the heroine in "The Hasty Heart" - a part played later in the movie by Patricia Neal. Also, Ralph Bellamy's wife in "Detective Story" - the girl Eleanor Parker later played on the screen. At one time, Anne Burr was doing parts in five radio dramas a day, including Wendy Warren and the New s (which she still does), Big Sister, When a Girl Marries, Backstage Wife ("I played the wicked Regina, very different from CLaire Lowell"). She was in the radio company of Studio One, doing many different women - even "Carmen"!

Although Anne has studied singing, it was never with the idea of singing professionally, but of developing more flexibility in her speaking voice and learning to use it to the best advantage. There is no doubt that her voice is distinctive, interesting, a voice one is apt to remember.

In the early days of television, when Fred Coe and Gordon Duff were putting on the first full-length TV plays, she worked under their direction, remembers their doing the play, "Petticoat Fever," when the lights were frightfully hot, the actors costumed in heavy sweaters and fur parkas! Later, she worked with these same two talented men on the Philco Playhouse.

One of her first daytime dramatic roles on TV was as the woman doctor in The Greatest Gift. The show was telecast from Philadelphia, for which she caught an early-morning train, getting back just in time to do her dinner shoping before the store closed at seven P.M.... Had she ever dreamed about sleeping late mornings, and those glamorous evenings?

For some time, she also played Gloria, a torch singer, in The Guiding Light, both on radio and TV. But it wasn't until she began to be Claire, in As the World Turns, that viewers started to recognize her - on the street, in the stores, wherever she went. "A woman approached me at the grocery recently,"Anne notes, "and said she had missed a week of the show and would I please tell her what had been happening. In Connecticut, five of the neighbors asked me about a sequence they had missed because of some power failure in the station tht usually brings the program in, so I brought them up to date.

...There was a time when, if I went to a restaurant like Sardi's, where other theatrical people eat, I would be recognized. But it's a wonderful new experience to have total strangers say, 'Hello, Claire,' as they pass me in the street...or stop me in a store."

On the set, in the waits, she does needlepoint - house slippers for Tom, a fancy eyeglass case for her mother. One of her volunteer projects is recording textbooks for blind students, any book that will help a blind boy or girl continue in college. When friends ask how she manages to do so much - to be wife, homemaker and hostess, to work regularly in radio and television, to find time for all these other occupations - she has an answer.

"The only way I know of to be truly happy," says Anne, "is to be useful...but because something within you will not let you rest in idleness. I get the blues only when I am wasting time, and I am just as tired on the days when I do very little as on the days that are filled with activity. In one case, the energy is directed. In the other, it isn't. There is always something waiting to be done, something to be made or fixed for the house, something that needs cleaning or straightening...someone who needs some help.

"We go out some, and we entertain, because that is part of my husband's life and of mine," Anne Burr McDermott adds. "I enjoy this. I want people to feel welcome and comfortable in our home. If we have a party, I gt some help in cooking and serving. But, the rest of the time, I'm the cook in our household, and I like it."

Looking at Anne Burr, they would feel sure that her ideals are real, too...and that she never meant it seriously when she said she wanted to be an actress because actresses could sleep late! Anne must have known that...as the world turns and time moves forward...there are just too many interesting and worthwhile things to do - whether it's morning, noon or night.