TV Radio Mirror (Jan - Jun 1956)

Record Details:

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writing. For he finally submitted his play to Marion Searchinger, script reader for an important agency. "Once more, however, I might have held back," he says, "if it had not been for Judy. One Monday, when I was going to rehearsal, Judy reminded me to take the script along to Miss Searchinger. It was late in the season to sell anything on the theme of baseball, and maybe it wasn't good enough. 'Take it in,' Judy said. 'You have nothing to lose.' " Later, Steve learned that Miss Searchinger had agreed rather reluctantly to read the script, only because someone else in the office had asked her to, because someone had asked him. "As far as she was concerned," Steve notes, "I was just another actor who thought he could write. Next day, shortly before Love Of Life went on the air, I had a call from her at the studio, asking me to get over after the show. The sum of what she said was that — even if she couldn't sell that particular script — she was sure I could turn out others, if I were willing to work hard. "She did sell that script, five days later, to the U.S. Steel Hour, in time for the World Series season. It was produced under the name of 'Baseball Blues.' Between her help and that of Mark Smith, who is editor for Maurice Evans and does the adaptations for his shows, I learned more about script writing than I imagined there was to know. I have since sold to Kraft Theater, NBC Matinee Theater, Lamp Unto My Feet, and others." The way things were happening to Steve it could hardly have been a surprise when Long Island University asked him to teach a class in playwriting this season. He wasn't sure what kind of teacher he would make, but he liked the idea at once. In his opening speech to his class, he said that it seemed to be a choice perhaps of getting a teacher who couldn't write, or a writer who couldn't teach, but he would do his best. At home, the family watches television together when they have time. Steve never misses a major sports event if he can help it, and Eric is right there next to him when it doesn't interfere with school work or bedtime. Peter, of course, likes the cowboys and spacemen. They see as many of the dramatic shows as possible, too, and all the big productions chat everyone likes. And daytime dramas, when Steve isn't working. Much of the time at home he's back in his room, pounding on his typewriter. As the keys click to the rhythm of his ideas, life goes on in the apartment around him. Peter brings his favorite pounding toy into the hallways and starts banging big colored pegs into the holes designed for them, until Judy gently draws him into the farthest corner of the apartment where the sounds grow muffled. Or she tactfully substitutes something less noisy. She doesn't even fuss if Peter jumps up and down a little on the big living-room sofa and leaves his sticky fingerprints on the edges of the mirrored wall behind it, as long as he keeps quiet so Daddy can work. Eric may come bouncing in from school, hungry as only a boy can be, wanting to talk about the day's doings and the plans he has afoot. The telephone has been ringing, there is marketing to be done, but Judy has managed to keep this state of confusion well under control. So . . . even if, on Love Of Life, Hal Craig is a suave, devil-may-care sort of fellow — the kind the movie ads used to say "you love to hate" ... at home, Steven Gethers is a hard-working actor-writer who wouldn't change his own satisfying life for that of anyone else in the world. That glint of good humor which lurks in his eyes tells you so. MAKE $1500 A DAY AND MORE! 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