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Here are some articles regarding Addie Williams' death in 1974. Sorry they're chopped up! This one is when she was sick in the hospital (she had leukemia) right after Hope was born. Everyone thought she was going to die at this time. The article was from February 1974.



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This is when Addie, after her leukemia went into remission, was killed after she was hit by a truck.





Edited by jam6242
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The article mistakenly says that Susan Seaforth appeared in "The Towering Inferno." That was actually Susan Flannery.

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Thanks for sharing these. I never would have seen them otherwise. I know there was a lot of backlash over killing her at all. I do wonder what they would have done with her if they hadn't killed her off. Longterm, I can see her being a bad mother to Hope as she was to Julie.

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I'm not sure what they would have done with her. There was a big demand from fans by this time to get Doug and Julie back together since the news was out that Bill Hayes and Susan Seaforth were a real-life couple. Doug had grown to love Addie though and was determined to become a good father to Hope. He had resisted all of Julie's efforts to get back with him. And after Addie went into remission from the leukemia, Julie resolved to go on with her life without Doug. That's why she married Bob Anderson. It's hard to imagine Doug would have left Addie at this point. So I guess the only thing they could think of was to kill her. I remember Addie wanted a second chance to raise Hope better than she did Julie.

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with a smile. "You see, I already am a father in a way. My wife Joyce has two previous children from her marriage with James MacArthur, Charlie and Mary. They are living with us now, and well, I am acting in the role of father to them.

"But as to how I feel about the coming of my child, well, of course, at first when i heard the news from my wife I was very excited. But now, as time has passed, well, I'm used to it. Although..." and again he gives a smile, a twinkle in his eyes "...s-o-o=n...well then I'll be numb, and nervous and everything."

Asked just how he felt about being a father to Charlie and Mary, Edward was slower to respond, and one could see that he was trying to give as honest an answer as possible. He began, "It's not easy. Sometimes it's like a tug-of-war. I mean it's a difficult role having to bring up someone else's children. But really it all works out nicely. We're all very friendly, and I do believe that we have very good relationships. But it is quite a responsibility having an instant family. I always keep trying to tell myself to just let things happen...not to push.

"I am not by nature a rigid person myself, but I do believe in order and instilling this to the children. I mean in life there are times when you have to do certain things. At formal dinner parties you wear formal dinner jackets. And children too, must be aware that they cannot leave their Popsicle sticks around the house.

"Now Charlie," he continues, thinking very carefully about his step-son, "he's got what I call natural curiosity. The other day I took him up in my model airplane and he loved it. He was a perfect adult all the way through the trip. But back on the ground with his mother around he reverted back to his age-group.

"But he's a very talented young boy. We were all especially proud of him this year because he wrote this very long, involved and really good script, The Night Before Christmas. Well the entire family made a project out of it. Joyce and I got involved and the kids played in it and we got our nieces and nephews in on it, and we put the whole thing on film with music. There were 35 different step-ups. Believe me it was spectacular...and I spent hours working hard and editing this thing. But what fun and what a wonderful thing to do."

Edward plays the role of Bill Horton in Days of Our Lives, and for the actor it's sometimes difficult to separate himself from the character. "You know there are times," Edward says, "when I'm driving back from the studio and I'm in a bad mood and I don't know why and then I realize it's because Bill Horton's had a rough day. I use a lot of myself for the part...I draw from inside of myself.

"You know because you use yourself while acting you can be more of yourself in the part. I mean that Edward Mallory might be afraid to cry, but Bill Horton very well might be afraid to cry in a scene.

"I like Bill, but as I say, sometimes he's with me and I don't know about it. I've told my analyst about it. As a matter of fact all I keep talking about with my analyst is show biz talk. He seems more interested in what's going on with show biz somehow.

"I go to an analyst...well, to know more about myself...to use as much of myself as I can. We know ourselves only so much. There are times when I get depressed and I don't know why. I guess I want some kind of greater fulfillment. I suppose I'm moderately successful right now, but that's not enough. I'm restless. Always having to do this or that, and yet, somehow I've the notion that I'm lazy.

"Acting isn't enough for me! One of the things that I've devoted much of the past few years to has been Theatre East which began about ten years ago. I was one of its beginning board members and the first official president. It has been called an 'artistic gymnasium' for actors, writers, and directors where public projects have been put on. I just directed a play called The Happiness Bench which almost made Broadway It got as far as Philadelphia. I've been working for that play a long time. I believe in it.

"It's strange, where as an actor I am calm, as a director I get the butterflies. But it's very satisfying for me. It's not hard for me...acting and directing. You know I always have to be something. Home life can be very seducing and I could just settle down to fixing the barn.

"I was always a different sort of kid anyway. I was 'the nut' of Cumberland, Maryland. There was no theater there but I always knew that acting turned me on. I must say though that I didn't know I wanted to become an actor. I decided to make the Army my career. I had a military school background.

"But even in the Army with an OCS commission...I was teaching...and I was more interested in mock wars and building sets. I realize I guess then that I wanted to be an actor so I left. I studied at Carnegie Tech.

"I lived in New York for a while. I found it very stimulating, but a Hollywood contract brought me out here and well now I guess I have my roots in Granada Hills."

We asked Ed just who he thought he was and what he would like to be. He looked back suspiciously and then began to smile. "W-e-l-l...let's see. I come from a Catholic background and my childhood has had this feeling to it...as though I was were a bad boy. But right now you might say," and he laughs again, "I am smart, a wit, moderately successful...someone who pretends to be more modest than he really is...And Edward Mallory would like to be...an authority on something. I don't know...I'd like to go on Dick Cavett and be able to speak about something with some amount of something."

But judging from what other daytime TV stars say about him and his work, Theatre East, Edward Mallory is an immensely talented, well-loved man and certainly an authority on what theater's all about.

But the next time you see him...the name is Edward, not Ed!

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a most attractive brunette, playing the ingenue. "I'd met her briefly once before in New York, but now I sat back and really watched her. I wasn't especially keen about ingenues, but Frances had an enormously appealing freshness without being vapid. She already had developed her voice to the extent that it was a good voice. It's developed enormously since, but it was a very good voice then, and for the theatre, there is nothing in the world better than a good, useful voice. I think Frances' voice today is one of her greatest assets. She has also acquired a beautiful authority, poise, and an implication of understanding that gives depth and texture to every character she plays."

They started dating, but decided to wait on marriage. When they played San Francisco, Phil met her family. "It was pretty scarey. Her father was a courtly sort of man, slightly formal, and very rich. Her mother is a wonderful woman and very kind; but I was under a magnifying glass and I knew it. They'd invited me to Thanksgiving dinner. What saved the day was her sisters' taking me for a tour of the Berkeley campus just over the hill. Then back to dinner and the magnifying glass. They didn't think much of the theater. They knew Franny and I were in love, and they were worried. I not only was young and had no money, I was an actor!

"All along the way, of course, I was writing and phoning Frances. We'd squabble and make up and squabble again. She didn't really want to be pinned down and neither did I, but there it was on the horizon. I don't know how we decided to get married. But after rehearsal one afternoon, we drove to New York, to The Little Church Around the Corner and had a very conventional theatrical wedding. Franny's cousin was bridesmaid; a friend of mine was best man. We had a pleasant dinner at Peter's Back Yard in the Village. Coming back, we got lost and wound up in Round Croten Reservoir, but the next morning, there we were, back at rehearsal."

Show business marriages were then just as hazardous statistically as they are now. "And I don't think it has anything to do with constantly being exposed to very attractive people in one's work," Phil says. "I think that's minor. What is major is the sheer uncertainty of the economics and geography of the business. You can be working half a world apart, you also can be working not at all."

Before his marriage Phil had been doing shows back-to-back and felt reasonably secure, then bang! He was out of work!

"Franny wasn't working much either. We lived hand to mouth and it did look as if we were getting slapped down for our pains. This was the tail end of the depression. I will say Franny did very well with what we had. She was very cheerful. She learned to cook and fast. She even managed to scrounge up enough to invite friends occasionally for simple meals."

It wasn't until the following fall that something exciting happened - a production of The Rivals for the Theatre Guild, with Frances as Julia and Philip, Sir Lucias. On stage they never even met, but they were caught up in the wonderful thrill of a hit play! That was apparent in their twelve weeks on the road before opening in New York, and that opening night on Broadway was to become one of their fondest memories. Always on opening night, Phil sent her a flower, an orchid or a single gardenia or a camellia. That night it was a comellia which brought her luck - brought them all luck! The show ran four months in New York, then went on tour. It might have gone on forever, except for Pearl Harbor. But this was the first professional thing Frances and Phil did together and it was an auspicious beginning.

"Pretty rocky, at first," Frances says, poking her pretty head in for a moment, as Phil and I sit chatting in their living room. "You're inclined to treat a husband or wife differently than you do a fellow performer. As a wife or a husband you're inclined to make things your business that aren't your business. You have to learn to be involved only on a professional level. Phil was better about this than I was. Women are inclined to meddle a little more. But I learned. We've been awfully lucky, you know, we've worked together a lot. By the second or third show, all was serene."

"It is extraordinary," Phil says. "We have had the best of both worlds. We were both fundamentally in the theatre, and New York then, even more than now, was the holy of holies theatre-wise. It was something to live through. I think one of our great experiences was our marvelous tour with Maurice Evans in The Devil's Disciple. Franny played Judith Anderson. I played Fastor Anderson. We toured from coast to coast."

They instinctively respected each others' ability always and were wise in the ways of criticism.

"THe most important advice Phil ever gave me," Frances says, "was when we were first married. He said, 'Being an ingenue warps a woman's mind. No more ingenues.' So I lied about my age and tried playing older characters until one day I came home and said, 'Philip, I don't know what you're going to say about this but there's a part I've been offered and I'd love to do it but this is the ingenue to end all ingenues - Ophelia.' 'Oh well, Ophelia's different,' he said."

"Her Ophelia was marvelous, the best I have ever seen!" he says.

He gives her a beautiful look. Pride. Admiration. And something more, very personal that reminds you, "the best of two worlds." Thirty years of it. When she leaves us to go out and garden, he sums it up. "A marriage like ours has a great many pluses. There are lots of things we don't have to talk about. We understand each other. When it comes to professional things, a key word will do, just key words can pass for conversations. On the other hand, we are able to converse for hours at a time, which many husbands and wives don't do at all. We have many things that interest us. We both garden. Although she is the real authority. Years ago she went to UCLA and took a crash course in horticulture. And we have always been mutually interested in where we live. For about seventeen years we had a place in Buck County, built most of it ourselves. She did all the plastering and painting I did all the masonry.

"I have known actresses who must be terribly difficult to live with," Phil says. "They are innately self-centered and that's been intensified, exaggerated by a great deal of pampering and attention. There are actors and actresses who keep right on acting when they come home, but it doesn't work that way in this family. Never has. Naturally there are times when you have a corner of your mind going on overtones of a character you're playing, but Frances is not the aggressive actress. She is extremely feminine, extremely strong-minded, she has a very strong character.

"When she first signed on for Days of Our Lives I wasn't crazy about the idea. For her sake. I was afraid of her tying herself up. I thought she might get to hate it, but she is doing fine and she enjoys the show."

There are those who think the whole institution of marriage is doomed, but Phil Bourneuf isn't one of them. "Marriage?" he says. "It is going on for an unforseeable future, isn't it?" And he should know. He married Frances Reid and here they are, they've had an enormous amount of fun and it doesn't seem possible - thirty years.


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