Tony Award nominee and soap opera actress Tresa Hughes has died, according to a death notice in The New York Times. She was 81.
Hughes played Emma Frame Ordway (Frankie, Molly, Wade, Sterling and Henry's mother) on Another World on and off from June 1975 to June 1976. She was the second Emma (Beverlee McKinsey was the first).
Hughes also played Rose Carelli Fraser on From These Roots from 1960 to 1961 (she left to do "The Advocate" on Broadway) and Nurse Dumfrey on Ryan's Hope in 1977.
Hughes was born in Washington and moved to Baltimore when her father, Joseph Silverman, retired from his supermarket business. She graduated from Forest Park High in 1947 as an art major. Showing talent as a sculptress, she studied at the Maryland Institute during and following high school.
She received her Tony nomination for her performance in Dore Schary's "The Devil's Advocate." Among her many other Broadway credits...
Hughes played Emma Frame Ordway (Frankie, Molly, Wade, Sterling and Henry's mother) on Another World on and off from June 1975 to June 1976. She was the second Emma (Beverlee McKinsey was the first).
Hughes also played Rose Carelli Fraser on From These Roots from 1960 to 1961 (she left to do "The Advocate" on Broadway) and Nurse Dumfrey on Ryan's Hope in 1977.
Hughes was born in Washington and moved to Baltimore when her father, Joseph Silverman, retired from his supermarket business. She graduated from Forest Park High in 1947 as an art major. Showing talent as a sculptress, she studied at the Maryland Institute during and following high school.
She received her Tony nomination for her performance in Dore Schary's "The Devil's Advocate." Among her many other Broadway credits...
- 7/28/2011
- by We Love Soaps TV
- We Love Soaps
A sympathetic account of Arthur Miller's later life depicts the playwright struggling to accept his creative demise
As F Scott Fitzgerald ruefully noted, there are no second acts in American life: the impatient marketplace decrees that early success leads directly towards oblivion, as newer talents bustle into view. Christopher Bigsby dealt with the productive first half of Arthur Miller's life in the initial instalment of his biography, so why should these last dejected decades be treated to a second outsize volume?
Miller's best plays – preachy democratisations of Ibsen, lumpenly prosaic despite their solemnity – were written between 1947 and 1955. After that he dwindled into an appendage of Marilyn Monroe; when they divorced in 1961 he became officially a has-been. Reviewing his new plays, as a critic remarked in 1971, was "like going to the funeral of a man you wish you could have liked more". Once when he attempted to hire a limo,...
As F Scott Fitzgerald ruefully noted, there are no second acts in American life: the impatient marketplace decrees that early success leads directly towards oblivion, as newer talents bustle into view. Christopher Bigsby dealt with the productive first half of Arthur Miller's life in the initial instalment of his biography, so why should these last dejected decades be treated to a second outsize volume?
Miller's best plays – preachy democratisations of Ibsen, lumpenly prosaic despite their solemnity – were written between 1947 and 1955. After that he dwindled into an appendage of Marilyn Monroe; when they divorced in 1961 he became officially a has-been. Reviewing his new plays, as a critic remarked in 1971, was "like going to the funeral of a man you wish you could have liked more". Once when he attempted to hire a limo,...
- 3/6/2011
- by Peter Conrad
- The Guardian - Film News
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