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- Robert Brubaker, son of George Brubaker and descendant of Jonas Sparks, a friend of frontiersman Daniel Boone, was born October 9, 1916 in Robinson, Illinois, a little town located two hundred and ten miles south of Chicago and seven miles from the Wabash River. Probably the towns only claim to fame is it is the home of Heath Candy Company. Bard Heath, the man who developed the English Toffee that eventually became the Heath Candy Bar, was the best man at Bob's parents wedding. Bob attended Robinson Township High School, which was where he became interested in theatrics. Bob started as a freshman, appearing in every production that was at the high school. When a lot of kids are growing up they want to be a soldier or a fireman; Bob had always wanted to be an actor. While in high school Bob was captain of the debating team and won the State Oratory contest. He had a public speaking teacher whose name was Helen Mowry, who was the one that really urged him about continuing his ambition as an actor. As a result of her urgings and her talking and her pushing, she suggested that Bob go to Northwestern University in Evanston, Illinois, at the Annie Mae Swift School of Speech. Bob's freshman year was in September of 1934 and he decided they were trying to teach him to be a teacher instead of how to be an actor. While there he appeared in a show, which was a revival of a musical comedy called "Good News", in which he played the comedy lead, and it was a tremendous success. He received reviews in the Chicago Tribune where the critic stated he liked Bob's characterization of "Bobby" better than that of Jack Haley, which Bob felt was quite an accomplishment. After two years, Bob decided to leave school and learn his profession on the job. Martin Burton, who had, in conjunction with George Condoff, become producers of the first musical ever done by the Federal Theater, had seen Bob's work in "Good News", and offered him a great opportunity. The Federal Theater was the only time that this government had ever subsidized the theater. That was during the Works Progress Administration when Franklin D. Roosevelt was President. In the summer of 1936, Bob went to work in the Federal Theater in a show called "Oh Say Can You Sing, Dance or Act". One of the people in that show who went on to become very famous was a young seventeen-year old kid who did a tap dancing number with a pair of drumsticks. His name was Buddy Rich. That was Bob's first professional show and he worked in that until September 1937. Then, he had to make a decision. There were two ways he could go - he could go to New York or go to Hollywood, but was much more drawn to Hollywood than he was to New York. Which, as a matter of fact, may have been a decision that worked against him rather than for him, because when he got to Hollywood in 1937 there was a great feeling, and there was for many years afterward, the only people who knew how to act had to be brought out from New York. The first thing Bob did when he arrived in Hollywood was to go back to school. He went to a dramatic school by the name of "Bards". There are some well-known alumni from "Bards" that were in school when he was there: Alan Ladd, Jack Carson and Gig Young. Bob was with "Bards" off and on for over two years and finally became a teacher there to help pay for his tuition. While teaching there, Bob was the principal person who taught Turhan Bey how to speak English. In addition to attending "Bards", Bob worked on a number of radio shows at the original KMPC out on Wilshire Boulevard opposite the Beverly Hotel. At that time, Clete Roberts was staff announcer and William Conrad was one of the staff actors. While at "Bards", Bob was brought to the attention of a man who was at that time head of Paramount Studios on the West Coast. They used to have a talent show every so often at "Bards" and all the major talent scouts and casting directors and hierarchy of the production side of the studios that Ben Bard could get into the theater would come to see these talent shows. They did original skits and also scenes from plays and motion pictures. Bob did a scene as a young drunk, and when this guy saw him - it was right at the time Warner Brothers had picked up John Garfield and he made a big splash. When Bob first came to Hollywood, he was told he was not a leading man. His hair was curly and they typed him right away in what was called a juvenile character because, in those days, the leading man was the Robert Taylor / Tyrone Power type -- the very handsome, almost beautiful, absolute straight slick-down patent leather hair. Bob went through all kinds of hell; they tried to straighten his hair. He went to Max Factor and you would not believe the agony he went through and they could do nothing. Bob's hair is curly and that's all there is to it; they were never able to straighten it. But anyway, this guy said they wanted Bob to be Paramount's answer to John Garfield, because that was sort of a breakthrough in that they were accepting a man who looked like that as a possible leading man. All these contracts were drawn up and sent back to be consummated by the head office in New York, and then there was a big rollover in the studio and all the people who were in the top echelon were all gone and nothing ever came of it. This was one of Bob's first "almosts" that didn't happen. Bob was involved in a radio program called "Gateway to Hollywood" in 1939. The producer of the show was a man from RKO named Jesse L. Lasky, and Bob appeared with guest stars such as Merle Oberon and Sir Cedric Hardwicke. It was a talent search and Bob made his way to the finals of that particular show. The first prize was a year contract for RKO. "Josephine Cottle" won the female prize and was given the name of Gale Storm; the fellow who won was Lee Bonnell, who later married Gale Storm. After leaving "Bards", Bob became involved with the Bliss-Hayden Theater for a time and then had the opportunity to go to New York and landed the male lead in a play called "Days of Our Youth" which was being done for the opening of The New School of Social Research, which was off-Broadway. That was in 1941. It was directed by John Baird who had been one of Bob's teachers at Northwestern. They had outstanding critical reviews from the major critics in the New York area, so much so that there were a couple of guys who were looking to invest some money. Their names were Olsen and Johnson, well-known comics who wanted to bring the show to Broadway. They did not think it was necessary to go out of town, so what they did was post an Equity Bond and got a theater lined up on Broadway. The show closed at The New School of Social Research and went into rehearsals for uptown, or Broadway, and, during this time, December seventh came along. The Japanese bombed Pearl Harbor, and they paid off the Equity Bond and that was the end of that. Bob eventually returned to Hollywood in the early part of 1942, and subsequently volunteered for the US Army Air Force, was selected, went into the cadet program and became a pilot. He was an instructor and then became an aircraft commander in B-24's. His group was selected to go overseas two different times - They got as far as San Francisco and, both times, they canceled their orders and they ended the war at Gowen Field up in Boise, Idaho. Bob was discharged from the service on December 15, 1945, and returned to Hollywood, and had to start all over again. When you are gone for any period of time, memory is very short in this town or in New York. He did some more radio work and performed on some of the major radio shows of that period. Then, Bob decided to return to New York, where he was a Hollywood actor in New York, and, at that time, they did not have much use for Hollywood actors in New York, so he went to work in the men's section for Lord and Taylor Department Store to survive. Then, Bob was recalled into the service. Anybody who was a pilot at the end of World War II and in physically good health was not discharged, just given separation papers from active duty but kept on active reserve. Bob was recalled to fly the airlift in 1949 on what they called a contract and was supposed to be in the service for eighteen months. He was to serve six months on the airlift, and then spend a year in the training command as an instructor. Bob did his six months on the airlift, flying one hundred and thirty missions into Berlin. When he returned home at the end of his six months, he was greeted by General Curtis LeMay, who was the Commanding General of the Strategic Air Command. General LeMay put out an emergency requisition letter saying that all four-engine pilots returning from the Berlin Airlift with bombardment experience would be assigned to the Strategic Air Command. So, instead of going into the training command for a year, Bob went into the Strategic Air Command and, instead of getting out in a year, he finally got out in February of 1954. During his second tour in the Air Force, Bob flew B-29's and was involved in the Korean War. He flew almost one hundred missions over Korea during the nine months he was over there. When he got out of the service, he came back to Hollywood and started his career all over again. He still had some friends who were active in the business. One was a woman by the name of Eve McVeagh. She had an agent that she steered him to by the name of Leon O. Lance (aka Leo Lance). Bob was very fortunate as he started working almost immediately in television. One of the very first shows that he was involved with was Reed Hadley's show, Public Defender (1954). Bob went on to work on Gunsmoke (1955). The first five years, off and on, he played "Jim Buck", the stagecoach driver; then from the fifth year to the nineteenth year he did a lot of Gunsmoke (1955)'s as a guest; and then when Glenn Strange, who played "Sam" the bartender, died, Bob took over that job as "Floyd". Bob also co-starred as "Deputy Blake" in the 1958 season of U.S. Marshal (1958) with John Bromfield. He also worked on such shows as Mr. Lucky (1959), Broken Arrow (1956), I Love Lucy (1951), Tombstone Territory (1957), The Man from U.N.C.L.E. (1964), The Deputy (1959), Tales of Wells Fargo (1957), _"The Rough Riders" (1950)_ (qv, _"The Invaders" (1970)_, Wanted: Dead or Alive (1958), The Andy Griffith Show (1960), Bonanza (1959), "The Texan" (1950)_, _"Kojak" (1970)_, The Rebel (1959), The Untouchables (1959), The Man from Blackhawk (1959), Dragnet (1951), Two Faces West (1960), Marcus Welby, M.D. (1969), Voyage to the Bottom of the Sea (1964), Death Valley Days (1952), Cheyenne (1955), The F.B.I. (1965), The Twilight Zone (1959), Navy Log (1955), Daniel Boone (1964), My Three Sons (1960), Tarzan (1966), Perry Mason (1957), Wide Country (1962), Dr. Kildare (1961), Kung Fu (1972), The Streets of San Francisco (1972), Barnaby Jones (1973), and later as a regular on Days of Our Lives (1965). Bob was signed by MGM to star in the series The Asphalt Jungle (1961) that Jack Warden eventually did. The networks were extremely powerful as far as what's on the air and what's not, and who gets on the air and who doesn't. When they received notice that MGM had signed Bob, they sent a query to MGM and said that they wanted an actor named Jack Warden, who was in New York, and asked, Who is Bob Brubaker? That was the syndrome about New York actors that was very prevalent in this business at one time. Anyway, they had to pay Bob off for the series, but he never got on the tube with it and he would much rather have gotten on the tube than to be paid off. Bob was involved in some major motion pictures in minor roles. He was "Major Hap Arnold" in The Court-Martial of Billy Mitchell (1955), with Gary Cooper; as a motion picture director with James Cagney in Man of a Thousand Faces (1957); the airport doctor in Airport (1970); a ferryboat operator in Barquero (1970) with Lee Van Cleef; in My Man Godfrey (1957) with June Allyson in which he played a fellow who had to carry a chimp above his head across a crowded dance floor. The last picture he did of any magnitude was The Sting (1973). He was in the famous gambling scene on the train when Redford really puts it to Robert Shaw. Other films included two Audie Murphy westerns, Apache Rifles (1964) and 40 Guns to Apache Pass (1967). Bob's favorite role was in the summer of 1954 after he was discharged from the Air Force. He was stationed in Savannah, Georgia, and had been active while there in the little theater. Bob Porterfield, who owned the Barter Theater in Abingdon, Virginia, saw him do the lead in "Detective Story" and asked him to spend the summer at his theater. Bob went there and that summer he did "Stalag 17" and "Mister Roberts", but his favorite role of all time was when he had the opportunity to play "Willy Loman" in "Death of a Salesman". Bob told me that he had a lot of thrills as far as the theater is concerned, but the greatest thrill of his life was on opening night of "Death of a Salesman". At the end of the final curtain, there was absolute silence for about thirty seconds and then there was thunderous applause and shouts of "Bravo!" and stomping of feet; and again, very well received by the critics. Bob enjoyed his work on Gunsmoke (1955). He loved the opportunity to work in it and with the people who were part of it. He and Dennis Weaver became friends and their sons went to school together. He had worked with James Arness prior to the time he took on the "Matt Dillon" role. One of those things Bob was involved in was the first experiment that NBC did - A thing called "Matinee Theater". An hour color live production, a different one every day at noon. Bob and Arness did "Damian and Phythias". In the late 1970's, Bob took on employment as the Director of the Training Department for before-needs salespeople at Forest Lawn. Bob, after retiring from his employment, moved away from Los Angeles to a smaller California community, where he resided until his death in 2010.
- James Riehle was born on 25 November 1924 in Saginaw, Michigan, USA. He was an actor, known for Rudy (1993). He died on 29 October 2008 in Notre Dame, Indiana, USA.
- Additional Crew
- Actor
George Walsh was the voice of 'Gunsmoke' from 1952 through 1962 on CBS Radio, starring William Conrad as Marshall Matt Dillon. Then on the long running CBS television program starring James Arness, which began each show with Walsh's, "Around Dodge City and in the territory out West, there's just one way to handle the killers and the spoilers, and that's with a U.S. marshal and the smell of 'Gunsmoke.'" Announcer-Newscaster for KNX-AM radio for 34 years(1952-1986). He hosted 'Music Till Dawn" (1952-1970). The show won the coveted Peabody Award in 1966. Hosted 'This Is Los Angeles' nightly at 8:15, which earned the Golden Mike Award from the Radio and Television News Association of Southern California in 1961. Recorded the signature line of 'Smokey Bear',"Only You Can Prevent Forest Fires!" After he retired from KNX radio, Walsh worked for a few years at the Candy Palace and other stores on Main Street at Disneyland. His voice could be heard on the rides, 'Flight To the Moon' and 'Mission To Mars". Following Pearl Harbor he enlisted in the US Army Air Corps, assigned to the Armed Forces Radio. Walsh also was emcee for the USO shows. When he returned from overseas he was stationed in Roswell New Mexico and got a job at KSWS Radio there. He was responsible for 'breaking' the Roswell UFO story and putting out on the wire.- Actress
- Music Department
Of Scottish descent, Catherine McLeod was a self-confessed movie fan as a child of the Depression. Born on July 2, 1921, in Santa Monica, California, she was a convent trained. She became a theater cashier in Dallas for a time before returning to Los Angeles and studying at an acting school. A talent scout discovered her in a play and signed her to an MGM contract in 1944.
She was typically cultivated in small bit roles which culminated in the finest showcase of her career. In the sudsy romancer, I've Always Loved You (1946), which was set to classical music, Catherine has to grow from a naive 18-year-old girl to an embittered 45-year-old woman. In comparison, most of her co-starring "B" roles were not only loanouts but less demanding in scope. She played Elizabeth Taylor older sister in Courage of Lassie (1946); Don Ameche's love interest in the weepie That's My Man (1947); the female lead in a pair of Bill Elliott's western vehicles, The Fabulous Texan (1947) and Old Los Angeles (1948); a nurse opposite psychiatrist Paul Henreid in So Young, So Bad (1950); the second lead in the Anne Baxter starrer My Wife's Best Friend (1952); Robert Clarke's damsel in distress in the swashbuckling adventure Sword of Venus (1953); and another second lead (behind Jean Peters) in the film noir A Blueprint for Murder (1953).
Finding her film career non-fulfilling, she settled into plays and television anthologies ("Lux Theatre," "Schlitz Playhouse," "Alcoa Theatre"), crime programs ("Richard Diamond," "Perry Mason," "77 Sunset Strip") and westerns ("Bronco," "Colt .45," "Maverick") in the mid-1950s and 60's. She also focused more strongly on her second marriage (to actor Don Keefer in 1950, and their three sons, Don (born 1953), John (born 1955) and Tom (born 1962). John and Tom would find work behind the scenes in later years.
Catherine gravitated toward soap operas into the next decade and was seen on such daytime programs as Search for Tomorrow (1951), General Hospital (1963) and Days of Our Lives (1965). In commercials, she is best remembered for her aching headache plug for Anacin in which she is cooking and loses patience over the stove, saying, "Mother, please! I'd rather do it myself!" Her last appearance on film was a bit part in the sordid thriller Lipstick (1976). She died on May 21, 1997, aged 75.- Mary Fickett was born on 23 May 1928 in Bronxville, New York, USA. She was an actress, known for All My Children (1970), The Nurses (1965) and Kathy O' (1958). She was married to Allen Fristoe, Jay Leonard Scheer and James Congdon. She died on 8 September 2011 in Callao, Virginia, USA.
- This vibrant Scottish character actress managed in her seven-decade career trek to not only brighten up the Broadway stage during the 1950s and 1960s in roles ranging from the man-searching milliner Irene Malloy to Hamlet's mother Queen Gertrude, but conquered the TV market too, delighting daytime audiences for not only standing toe-to-toe against Susan Lucci's Erica Kane character (and later becoming her surrogate mom), but issuing in-your-face lessons on morality to other infamous Pine Valley characters on the classic soap opera All My Children (1970).
Eileen Herlie was born Eileen Herlihy on March 8, 1918, in Glasgow, Scotland, the daughter of a Catholic father and a Protestant mother. She studied and performed for many years with the Scottish National Players before transporting herself to England where she became professionally associated with the late and great director Tyrone Guthrie. Making her official stage debut with "Sweet Aloes" in 1938, she went on to advance in such plays as "Rebecca" (1942), "Peg o' My Heart (1943), "The Little Foxes" (1944), "John Gabriel Borkman" (1944), "The Second Mrs. Tanqueray" (1944), "The School for Scandal" (1945) and "Anna Christie" (1945) before making a strong impression as Queen Gertrude in "Hamlet" in late 1945. Her film debut came in support of Margaret Lockwood and Dennis Price in the costume drama Hungry Hill (1947), but her huge breakthrough came about when Laurence Olivier cast her as his mother, Queen Gertrude, in his film adaptation of Hamlet (1948) -- this despite Eileen being 11 years younger than Olivier, who won the Oscar for his superb work in the title role. Years down the road Eileen would again earn acclaim playing Gertrude in the 1964 Broadway production of "Hamlet" starring Richard Burton and in its accompanying Hamlet (1964) film effort.
Surprisingly, Eileen was seen very infrequently on film after this initial success opposite Olivier. Instead she stayed true blue to her first love -- the theatre. Although she appeared to fine advantage on celluloid in The Angel with the Trumpet (1950), Gilbert and Sullivan (1953), Uncle Willie's Bicycle Shop (1953), Cocktails in the Kitchen (1954), She Didn't Say No (1958) and Freud (1962), she found even more rewarding roles under the theatre lights where she earned enviable notices for her work in "The Eagle Has Two Heads" (1946), "Medea" (1948) (title role), "The Way of the World" (1953) and "Venice Preserv'd" (1953).
The feisty, flaming red-haired Scot took her first Broadway bow in 1955 as hat shop owner Irene Molloy in the highly successful production of "The Matchmaker" with Ruth Gordon starring as Dolly Levi. Eileen also appeared in New York musicals, co-starring with Jackie Gleason in the nostalgic "Take Me Along" (1960), which merited her a Tony nomination, and Ray Bolger in "All-American" (1962). Elsewhere, she graced two of Peter Ustinov's plays ("Photo Finish (1963) and "Halfway Up the Tree" (1967)) and continued in classic regal fashion with her Queen Mary role opposite George Grizzard's Edward VIII in "Crown Matrimonial" (1973). She played the same role a year earlier in a TV film version opposite Richard Chamberlain as the abdicating King Edward and Faye Dunaway as paramour Wallis Simpson. Eileen's last stage role was in "The Great Sebastians" (1974) in Chicago co-starring Werner Klemperer, and her final film part came with a featured role in Chekhov's The Sea Gull (1968), directed by Sidney Lumet and surrounded by a superb cast that included Simone Signoret, Vanessa Redgrave, David Warner and James Mason.
In 1976, Herlie made a long and permanent switch to daytime soaps. As bawdy, plump-figured carny Myrtle Lum Fargate who later refined herself to a point and operated a frilly boutique store on All My Children (1970), audiences took a special liking to her down-to-earth character whose impulsive bluntness, staunch integrity, briny tongue and heart of gold made her one of Pine Valley's more beloved residents. She remained in town for over thirty years.
Divorced twice with no children, Eileen died at age 90 on October 8, 2008, due to complications from pneumonia. The stalwart actress continued to act almost to the end, last playing her "All My Children" character in June of 2008. - Actor
- Producer
- Soundtrack
A charismatic performer who spent years on television looking for his big break, actor George Eads finally became a television star portraying forensic investigator Nick Stokes on the hit procedural "CSI: Crime Scene Investigation" (CBS, 2000- ). Prior to that role, Eads eked out a living with roles on less-than-popular shows like "Strange Luck" (Fox, 1995-96) and Aaron Spelling's short-lived "Savannah" (The WB, 1996-97), before carving out a niche in TV movies like "The Ultimate Lie" (USA, 1996) and "Crowned and Dangerous" (ABC, 1997). He went on to score a few episodes of "ER" (NBC, 1994-2009) and had a regular role on the sitcom "Grapevine" (CBS, 2000), only to find himself out of work once more when that series was canceled after five episodes. But Eads segued right away into "CSI," where he was fortunate enough to have landed on a series that ran well into the next decade, turning him into a known commodity while allowing the actor the comfort of tackling outside roles as he chose. During his time on the show, Eads landed a number of guest spots and TV movies, but none as high-profile as his starring turn as the iconic 1970s daredevil, "Evel Knievel" (TNT, 2004). With his portrayal of Stokes, Eads was elevated from unknown to fan favorite after years of struggle.- Actor
- Writer
Big, burly character actor, one of the toughest of screen heavies. New York-born Leo Gordon's combination of a powerful physique, deep, menacing voice and icy, withering glare was guaranteed to strike fear into the heart of even the bravest screen hero. Director Don Siegel, who used Gordon in his prison film Riot in Cell Block 11 (1954), once said that "Leo Gordon was the scariest man I have ever met"--this coming from a man who had directed John Wayne, Clint Eastwood and Bette Midler! Siegel wasn't talking about just Gordon's screen presence. As a "heavy", Gordon was the real deal--before becoming an actor (he studied at the American Academy of Dramatic Arts), Gordon served five years in San Quentin State Prison for armed robbery (during which he was shot several times point-blank by police--and survived). "Riot in Cell Block 11" was filmed at Folsom State Prison--where Gordon also served time--and the Folsom warden remembered him as a troublemaker.At first he refused to allow the film to be shot there if Gordon was to be in it, but Siegel was able to convince him that Gordon was no threat to the prison.
Contrary to his image, though, Gordon was not just a one-note villain. He did play sympathetic parts on occasion, notably in the western Black Patch (1957)--which he also wrote--and in Roger Corman's civil rights drama The Intruder (1962), and turned in first-rate performances, especially in the latter film. Gordon was also a screenwriter, turning out several screenplays for Corman. He wasn't just limited to writing low-budget sci-fi films, either; he penned the screenplay for the WWII epic Tobruk (1967), writing in a meaty part for himself as Kruger, a tough sergeant in a platoon of German Jews masquerading as Nazi soldiers to help blow up a German oil storage facility.
Leo Gordon died in Los Angeles, CA, in 2000 at age 78 of heart failure.