Wednesday, April 5, 2023

RIP Perry Cross

 

Perry Cross, Johnny Carson’s First ‘Tonight Show’ Producer, Dies at 95

He quit the famed late-night program to work for Jerry Lewis, but that gig did not last long.

The Hollywood Reporter

By Mike Barnes

April 4, 2023

 

Perry Cross, who served as Johnny Carson’s first producer on The Tonight Show before he exited to run an ABC program hosted by Jerry Lewis that came and went after 13 episodes, has died. He was 95.

Cross died March 9 of kidney cancer at a hospital in Los Angeles, his son, Larry Cross, told The Hollywood Reporter.

Cross started out producing Ernie Kovacs’ CBS weekday morning show in 1952 and also worked on The Red Skelton Hour, Rowan and Martin’s Laugh-In, The Dinah Shore Chevy Show, The Soupy Sales Show, Life With Linkletter, The Garry Moore Show and several Jonathan Winters live specials during his career.

Cross had been producing The Tonight Show in the immediate aftermath of host Jack Paar’s departure on March 30, 1962, guiding the NBC program in Hollywood and New York that featured guest hosts for six months until Carson took over.

NBC wanted Cross to be Carson’s producer, while the new host favored Art Stark, who had produced his ABC daytime quiz show, Who Do You Trust? To test out the chemistry, Cross, Carson, sidekick Ed McMahon and a few others spent a week frolicking in Fort Lauderdale, Florida.

“We went out every night, we went to different places, we laughed,” Cross told Mark Malkoff on a 2015 episode of The Carson Podcast. “We all were good drinkers in those days. That didn’t hurt.”

Cross said they danced onstage wearing hula skirts — “that’s after about four mai tais,” he recalled — and rode speedboats. Carson also came up with characters including Aunt Blabby and Carnac the Magnificent on the trip.

Cross got the job and said he was getting along famously with Carson when Lewis — one of the guest hosts in that post-Paar, pre-Carson stretch — offered him an “enormous” salary to come to Los Angeles to produce a Saturday night, two-hour variety/talk show he was putting together at ABC.

Cross told Malkoff that he didn’t really want to go and would have stayed had NBC given him a raise, but the network refused. Carson was upset and angry that he was quitting, Cross noted, and at a staff-organized goodbye party, he raised a glass to toast the producer and said: “Perry, here’s to you. I have one thing to say to you. Fuck you.”

Forty episodes of The Jerry Lewis Show were planned, but the program proved to be a disaster from the start and was canceled after its 13th installment aired on Dec. 21, 1963.

“I’ve often thought back, to tell you the truth, that I made a big mistake by leaving, but that’s hindsight,” Cross said. “Who knows what would have happened later on if I’d have gotten too cocky and he got mad at me.”

Perhaps Cross was on to something — Stark was named Tonight Show producer in March 1963 but fired four years later.

Born in Brooklyn on Feb. 26, 1928, Cross was the son of vaudevillian Alan Cross. He attended Fort Hamilton High School and the University of Rhode Island and began in television as an NBC page at Rockefeller Center in 1949, taking visitors on tours around the building.

“It gave me a chance to talk to people,” he said. “At that time, I had some ambitions to become a comedian. I didn’t have any place to practice my jokes. I kept it a secret from all of the tour guides’ supervisors.”

Later, Cross made it into a trainee program that taught participants how to produce TV shows. “We went to school at NBC,” he said.

He worked at NBC as a production coordinator before Kovacs, newly arrived from Philadelphia, hired him in 1956 to produce his five-days-a-week CBS show.

A year later, Cross became a producer on Paar’s Tonight Show, but he said the host didn’t like him, so he left. But when Paar quit in March 1962, Cross got a call asking him to keep things afloat until a new host could be found.

“We went on the air the following week, and it was madness,” Cross said. “I had to set up a staff in Hollywood in a hurry, about 50 people I might add, and they had never done The Tonight Show there. It was chaos, but it was fun.”

Cross produced and lined up the guest hosts that included Lewis, Groucho Marx, Joey Bishop, Jack Carter, Mort Sahl, Art Linkletter, Robert Cummings, Merv Griffin, Arlene Francis and Jimmy Dean until Carson arrived.

Before Carson welcomed Marx, Mel Brooks, Tony Bennett, Rudy Vallée and Joan Crawford as his first guests on on Oct. 1, 1962, he and Cross had a gin and tonic, the producer recalled.

Years later, Carson and Cross met again in a Burbank studio after The Tonight Show had moved from New York. “I came in and knocked on his door and surprised him,” the producer said. “He was kind of withdrawn … there was an edge to it. He doesn’t forgive people for his perception of being disloyal. He never had from the beginning. Once Johnny turned on you, it was goodbye.”

Cross also produced game shows hosted by Bert Parks, Emmy Awards broadcasts and the wacky filmed segments for Laugh-In before effectively leaving the TV business in the mid-1970s. He then had a thriving career in real estate.

In addition to his son, survivors include his grandchildren, Kara and Jaime.

CROSS, Perry

Born: 2/26/1928, Brooklyn, New York, U.S.A.

Died: 3/9/2023, Los Angeles, California, U.S.A.

 

Perry Cross’ western – producer:

Spirit of the Alamo (TV) - 1960

Tuesday, April 4, 2023

RIP Judy Farrell

 

'M*A*S*H' star Judy Farrell dead at 84

Judy Farrell first appeared in Season 5 of 'M*A*S*H'

Fox News

By Lauryn Overhultz

April 4, 2023

 

Judy Farrell, known for her portrayal of Nurse Able on "M*A*S*H," has died at the age of 84.

Farrell passed away on Sunday, her son Michael confirmed to Fox News Digital.

"M*A*S*H" co-star Loretta Swit, who starred as Major Margaret "Hot Lips" Houlihan, remembered Farrell as "family."

"Judy was a most beautiful woman – inside and out. We grew up together," she told Fox News Digital. "She was family. This has been a painful loss, but we will always have the beauty of her memory. Rest in peace, Nurse Able."

Farrell appeared in eight episodes of the CBS comedy-drama series "M*A*S*H." The TV show, which was about members of the Mobile Army Surgical Hospital during the Korean War, ran from 1972 until 1983 for 11 seasons.

The show was still receiving high ratings when the team decided to end its run. Writer Alan Alda wanted "M*A*S*H" to end on a high note.

"I felt that we were running out of steam, and repeating ourselves," he said during a phone interview in 2017, according to the National Museum of American History. "And I personally wanted to go out on a high note, artistically."

Farrell was married to her M*A*S*H* co-star Mike Farrell from 1963 until 1983. Mike played BJ Hunnicutt on the hit show, appearing for a total of 179 episodes.

The actress also appeared in other classic TV shows, including "Get Smart," "The Partridge Family," "Port Charles," "Fame" and "Quincy, M.E."

Farrell remarried in 1985 to Joe Bratcher.

She is survived by Bratcher, along with her two children Michael and Erin.

FARRELL, Judy (Judy Haden)

Born: 3/1/1938, Quapaw, Oklahoma, U.S.A.

Died: 4/2/2023, West Hills, California, U.S.A.

 

Judy Farrell’s western – actress:

JW Coop – 1971 (barmaid)

RIP Andres Garcia

 

Andrés García Dies: Mexican-Dominican Telenovela Actor & ‘Chanoc’ Star Was 81

DEADLINE

By Armando Tinoco

April 4, 2023

 

Andrés García, a famed Latin actor known for his Mexican telenovela roles, has died. He was 81.

“With a pain that I did not know I could feel in my soul, I want to inform the public that always followed and loved my husband, family and friends, as well as the media, that my husband, Andrés García, the love of my loves, is resting beside our Lord Jesus,” his widow Margarita Portillo shared on Instagram.

García had been ill for some time and Portillo had been taking care of him at their home in Acapulco. Portillo shared that her husband had received a blood transfusion on Sunday and says that his “body was too weak.” García’s widow also said that he received his last rites on Monday.

“I was by his side taking care of him and loving him until his last breath,” she added. “He left in peace and in a manner that I thank God. Andrés abandoned planet Earth at 3:07 p.m.”

The cause of death was due to hepatic cirrhosis, which is severe scarring of the liver.

García was a naturalized Mexican and was born in the Dominican Republic. He became a household name after starring in the film adaptation of the comic series Chanoc. García would go on and have many acting credits in film titles like La noche del halcón, Las tres magnificas, Minifaldas con espuelas and El cinico.

One of the most coveted leading men in telenovelas, García was the star of titles like Las gemelas (1972), Ana del Aire (1974), Paloma (1975), Ámame (1979), Tú o nadie (1985), Escándalo (1986) and Mi nombre es Coraje (1988). García continued to star in telenovelas through the 1990s in melodramas like Herencia maldita (1990), La mujer prohibida (1991), Con toda el alma (1995) and El privilegio de amar (1998).

At the turn of the century he starred in Univision’s Mujeres engañadas (2000) and in Telemundo’s El Cuerpo del Deseo (2005). He returned to Televisa to star in 2007 the series El Pantera with his last acting credit back in 2010 on an episode of the series Hay alguien ahí.

GARCIA, Andres

Born: 5/24/1941, Santo Domingo, Dominican Republic

Died: 4/4/2023, Acapulco, Guerrero, Mexico

 

Andres Garcia’s westerns – actor:

Los asesinos – 1968 (Joseph Nelson)

La noche del halcon – 1968 (Anibal)

Super Colt 38 – 1969 (Roy)

Juan el desalmado – 1970 (Romulo)

Aventuras de u caballo blanco y un nino – 1975 (Venadito)

El trinquetero - 1976

El giro, el pinto, y el Colorado – 1977 (Luis)

El cuatro dedos – 1978 (Ignacio)

Cuchillo – 1978 (Cushillo)

Garden of Venus – 1979 (Pancho)

El siete vidas - 1980

King of Texas (TV) – 1985 (José María)

Rio de oro – 1986 (Rodolfo)

Los matones de mi pueblo – 1996

Los tres a caballo - 2003

 

Sunday, April 2, 2023

RIP Ryuichi Sakamoto

 

Composer & Pop Star Ryuichi Sakamoto Has Died

The Oscar-winning musician, who also worked in video games, was 71

Kotaku

By Luke Plunkett

April 2, 2023

 

Ryuichi Sakamoto, the famed Japanese musician and composer, has died at the age of 71.

He had been battling failing health for several years, having been diagnosed in 2014 with throat cancer, then bowel cancer in 2021. Through all his treatments and surgeries, however, he continued to write music and perform, even giving an online performance as recently as December 2022.

Sakamoto is perhaps best known for his work composing the score to several films, especially The Last Emperor (for which he won an Academy Award), The Last Buddha, The Revenant (which saw him nominated for a Golden Globe) and Merry Christmas Mr Lawrence, in which he also appeared on-screen alongside David Bowie.

Yet he was also famous for his earlier pop career, both as a solo artist and as a member of Yellow Magic Orchestra, an electronic group that was huge in Japan in the early 80s. YMO had an impact on Western musicians and markets as well; their song “Computer Game” charted in the UK, and they appeared live on Soul Train in 1980.

Over his decades-long career writing music Sakamoto even worked on a few video games, from 1989 RPG Tengai Makyou: Ziria, the first game in the long-running Far East of Eden series, to 2006's Dawn of Mana, for which he composed the opening theme (for more on this surprisingly excellent but also confusing credit, see here)

His most recent contribution to a video game was 2014's wonderful Hohokum, in which (among other excellent selections) the track Reticent Reminiscence, a collaboration between Sakamoto and electronic musician Christopher Willits, appears.

Sakamoto died on March 28, with the announcement of his passing coming after his funeral on April 2. He is survived by his four children, one of whom is Japanese pop star Miu Sakamoto.

SAKAMOTO, Ryuichi

Born: 1/17/1952, Tokyo, Japan

Died: 3/28/2023, Tokyo, Japan

 

Ryuichi Sakamoto’s western – composer:

The Revenant - 2015

RIP Raul de Anda Jr.

 

Rodolfo de Anda Jr, producer of "El Pantera" and grandson of a Golden Film star, died

Alexis Ayala confirmed the unfortunate loss of his friend through his social networks

infobae

By Adriana Castillo

April 1, 2023

 

The national art industry ended March with another big loss. During the afternoon of Friday 31 transcended the death of Rodolfo de Anda Jr., a beloved Mexican producer who conquered the public with both films and television series. So far the causes of death are unknown, however, it is known that he lost his life at 57 years of age leaving an indelible mark on the creation of content for traditional media.

It was the actor Alexis Ayala who turned to his Instagram account to share the unfortunate news with his followers and colleagues in the media. Without revealing the causes of death, he said goodbye to who he considered one of his closest friends, highlighting his professional and personal qualities.

"Dear brother, my friend of life, of adventures, of society of everything. My friend and companion forever. RODOLFO DE ANDA, I will always remember you like this in my memory, in my soul and heart. You are, because you will never cease to be, a knight, a warrior, a loyal and loving man. Who I always learned from and whom I always admire and respect," the soap opera villain wrote.

I love you, "TAZ," as we called ourselves, as only you and I knew why. REST IN PEACE and may God embrace and bless you always. In me you will live forever. Health for your life and I will always celebrate having lived by your side. That the last will never be the last.

The 57-year-old singer accompanied his moving words with a photographic series where he compiled some of the unforgettable moments he lived with Rodolfo de Anda Jr. In these postcards they appear very smiling in the middle of a road, watching audiovisual material after a shooting, with friends and enjoying conviviality in restaurants.

In this way, Alexis Ayala revealed part of his fraternal relationship with the producer, but he was not the only one, Maribel Guardia, Raúl "El Negro" Araiza, Malillany Marín, Mane de la Parra, Angelique Boyer, Sebastián Rulli, Andrea Noli, Víctor Reséndez "Latin Lover", José Ron and Víctor González joined lamented the death of the creative.

"What? that sadness, I cannot believe God has it in his holy glory." "Or I'm very sorry!!! My deepest condolences dear friend!!". I can't believe it, I'm shocked, my dear little charrito, the memory is a form of meeting dear friend." "Real friends remain forever in our hearts," were some reactions.

Who was Rodolfo de Anda Jr.?

The producer inherited his artistic vein from his grandfather, Raúl de Aranda, who became the mythical Charro Negro of the big screen with films such as La venganza del Charro Negro, Dos gallos de pelea, Almas rebeldes, Soy puro mexicano and Aquí está Juan Colorado (all films that are part of the Golden Age of National Cinema), He also demonstrated his love for creating content behind the camera as a producer, director and screenwriter.

Raúl de Anda had five children among whom Rodolfo de Anda stood out because he wanted to follow in his footsteps in the national entertainment industry. During his career he worked as a producer, director, storyteller and actor inheriting his father's nickname; He collaborated in films such as Arriba las manos texano, El rey de los Tahures and El hijo del Cahrro Negro.

It was thus that Rodolfo de Anda Jr. grew up surrounded by a love for cinema and, although he made several films, he wanted to go further. This is how he conquered the public with El Pantera, a television series starring Luis Roberto Guzmán, Vanessa Terkes, Opi Domínguez, Ignacio López Tarso and Raúl Padilla Jr.

De ANDA, Jr. Rodolfo (Rodolfo de Anda Gutiérrez)

Born: 7/10/1965, Mexico City, Federal District, Mexico

Died: 3/31/2023, Mexico City, Federal District, Mexico

 

Rodolfo de Anda Jr’s. westerns – actor:

El hombre – 1976

El buscabullas – 1976 (Tommy)

 

Saturday, April 1, 2023

RIP Maria Silva

 

Obituary of María Silva

La Abadia de Berzano

Berto Naldo

April 4, 2023

 

A few days ago the death of the Spanish actress María Silva was made official, which occurred on March 17. A familiar face within popular cinema in the sixties and seventies, she disappeared from the big screen with the arrival of the Transition to resurface through television with great impetus for two decades before voluntarily deciding to retire from acting.

Born in Palencia in 1941, María Jesús Marín Rodríguez spent her childhood in the care of an uncle of hers a director of the Central Bank and responsible for the opening of branches throughout the Spanish territory, with the consequent feeling of uprooting of little María having to constantly change schools following family displacements. She turned into an attractive young woman, who decides to embark on a precocious career as a model for Pedro Rodríguez to the great chagrin of her family. Soon the cinema knocks on her door propitiating hier debut in Luis César Amadori's film Una gran señora (1959) under the pseudonym of Mara Silva. Thanks to her particular photogenic, from this moment onwards, a long series of small roles in films of all kinds follow one another that strengthen her incipient interpretive technique and provide her with a certain notoriety in the cinematographic environment, pigeonholing her at first as naïve in secondary roles without much relief. From this period her most notable works are perhaps the classic of Hispanic horror Gritos en la noche (1962) by Jess Franco and the diptych on Zorro formed by La venganza del Zorro and Cabalgando hacia la muerte, both directed in 1962 by Joaquín Luis Romero Marchent and where she appears definitively with the name of María Silva.

Her first relevant role as a protagonist comes at the hand of a Spanish-Italian co-production, Promesa sagrada (1964) by Mario Maffei, based on the classic of Italian literature I promessi sposi by Alessandro Manzoni, brought to the screen countless times. The null repercussion of this film in our country does little to advance her career, although it does not stop the work activity of the actress who continues to chain jobs without any problem, almost always in genre films. It is appreciated in this period a greater diversity in her tasks, alternating her already habitual roles of naivete with others that will end up becoming her trademark, those of women of light life, vampires or, simply, those in which she incorporates "the bad of turn". One of the most interesting films of her filmography comes in 1967 with Las salvajes en Puente San Gil, debut on the big screen of the Catalan director Antoni Ribas that brings together a fabulous choral cast for the film adaptation of a play by José Martín Recuerda premiered just a few years ago and in which the adventures of a company of magazine vedettes upon their arrival in a town of the deepest and most peaceful Spain to present its show. Next to Silva we will see Nuria Torray, Rosanna Yanni, Marisa Paredes, Trini Alonso, Vicky Lagos, Charo Soriano and Carmen de Lirio debating between the sweatiest testosterone and the most fanatical intransigence under the dust and dandruff of a dark town lost in the meanders of the Iberian plateau.

At the end of the decade came two of her most popular works with adaptations of some of the zarzuelas that Juan de Orduña made for the big and small screen. Specifically, they are El huésped del sevillano (1969) and Las golondrinas (1968), where she demonstrates her versatility by incorporating for the first a mysterious and sophisticated heroine and for the second one of those women capable of dragging to perdition any man who liked to portray the cinema of the time and that Silva interprets with considerable magnetism.

At the dawn of the seventies comes another leading role for an authentic incunabula, the feature film Presagio (1970) by Miguel Iglesias, where our actress plays Berta, a woman with paranormal powers who tries to elucidate a murder thanks to the help of a psychiatrist. The failure of this film drags Silva back to secondary roles in spaghetti westerns and horror films, among which we can highlight the first film with the Knights Templar of Amando de Ossorio, The Night of Blind Terror (1972) and a couple of works with Paul Naschy: The Return of Walpurgis (1973) and The Revenge of the Mummy (1975), both directed by Carlos Aured. Without leaving the fantaterror, we also find her starring in the dark, sinister and controversial La perversa caricia de Satán (1976) by Jordi Gigó, where she leaves the malevolence and spells to her colleague Silvia Solar to incorporate the suffering heroine in a twisted satanic and supposedly supernatural plot.

With the arrival of the Transition comes the unveiling to the Spanish screens and the bulk of our actresses have to resign themselves, grit their teeth and take off their panties and bra to the delight of the Iberian male. Few are those that resist the (opportunistic) liberation hurricane that, curiously, only concerns women on the screens of our peninsula. Authentic figures of the cinematographic panorama such as Concha Velasco, Carmen Sevilla, Aurora Bautista or Rocío Dúrcal have to deal with the prevailing mess in our seventh art, although some actresses flatly refuse to take that step to become cannon fodder. María Silva is one of them and the result is not long in coming: a dry stop of her activity for the big screen that fortunately will not mean her definitive disappearance from the interpretive panorama. Television, for which she had already done some work, comes to her rescue and quickly turns her into a regular presence within the dramatic spaces so common of the time, and that under the titles "Novel", "Estudio 1", or "El teatro" proposed multiple adaptations of classics of literature and universal theater. There are countless works of the actress in this medium where she gradually acquires a prestige, elocution and dramatic solidity really considerable, making her a favorite and a safe bet for any director in search of a charismatic, intelligent and solvent protagonist. Among all her television roles, her interpretation as Ana Karenina in the adaptation of the immortal classic by Tolstoy directed by Fernando Delgado in 1975 has probably remained for the annals.

It is in this cathodic period when her new image is outlined and to which she will be definitively associated: that of a sophisticated, sensual but elegant woman, and who will lavish, not only on television, but also in the theater, where she begins to be very requested thanks to the interpretative maturity acquired during her cathodic works, soon chaining numerous functions in works of considerable relevance such as Los peces rojos by Jean Anhouil, La venganza de don Mendo by Pedro Muñoz Seca, Un espíritu burlón by Noel Coward, Tartuffe by Molière, Trampa mortal by Ira Levin, Fuenteovejuna by Lope de Vega, La Orestiada by Esquilo or Los japoneses no espera by Ricardo Talesnik.

She maintains a constant presence on television in the seventies and eighties where, apart from the aforementioned dramatic spaces, she intervenes in numerous series such as Curro Jiménez (1978), Juan y Manuela (1974), Segunda enseñanza (1986), El baile (1985), Esa clase de gente (1990) or Veraneantes (1985). During the screening of the latter on TVE surprises locals and strangers with a photographic service for Playboy, where she is partially naked and in all her splendor, although, yes, maintaining her characteristic elegance and the sensual maturity of an actress who with her forty years well planted knows what she wants and how to do things.

With the arrival of the nineties, María Silva decided to embark on a new direction in her professional life and, after participating in the series Taller mecánico by Mariano Ozores in 1991, she publicly announced her retirement with the aim of dedicating herself to the representation of actors.

We dedicate this article to the memory of María Silva, who although she spent these last decades with great discretion away from the media, will remain in our memory as one of the most charismatic actresses of cinema and television in our country.

SILVA, Maria

B: 8/16/1941, Palencia, Palencia, Castilla y León, Spain

D: 3/17/2023, Spain

 

Maria Silva’s westerns – actress:

Shadow of Zorro – 1962 (Irene)

The Terrible Sheriff – 1962 (Clementine)

Zorro the Avenger – 1962 (Irene) [as Mary ilvers]

Shoot to Kill – 1963 (Mary Thompson)

Cavalry Charge – 1964 (Valerie Jackson) [as Mary Silvers]

Kill the Wicked! – 1967 (Shelley)

I Do Not Forgive... I Kill! - 1968 (Isabel Alvarez) [as Mary Silva]

Santana Kills Them All – 1970 (María Anderson)

The Black Wolf – 1980 (Marquesa)

Revenge of the Black Wolf – 1981 (Marquesa)

 

RIP Sharon Acker

 

Sharon Acker, Actress in ‘Point Blank’ and ‘Perry Mason,’ Dies at 87

The Toronto native had a memorable guest turn on 'Star Trek' and starred with Hal Holbrook on 'The Bold Ones' and with Mitchell Ryan on 'Executive Suite.'

 

The Hollywood Reporter

By Mike Barnes

April 1, 2023

 

Sharon Acker, the Canadian actress who portrayed Lee Marvin’s unfaithful wife in the 1967 neo-noir classic Point Blank and the right-hand woman Della Street opposite Monte Markham on a rebooted Perry Mason in the 1970s, has died. She was 87.

Acker died March 16 in a retirement home in her native Toronto, her daughter Kim Everest, a casting director, told The Hollywood Reporter.

Star Trek fans know Acker for her January 1969 turn as Odona, a desperate woman from an overpopulated planet, on the third-season episode “The Mark of Gideon.”

She also starred on a 1976-77 CBS adaptation of Executive Suite, playing the wife of Mitchell Ryan‘s Dan Walling. (Acker and Ryan assumed the parts performed by William Holden and June Allyson in the 1954 MGM film directed by Robert Wise.)

In John Boorman’s Point Blank, Acker’s character takes up with John Vernon’s Mal Reese after he shoots Walker (Marvin) and leaves him for dead after they rob a courier on Alcatraz. When Walker returns seeking revenge and his share of the loot, he manhandles her and riddles her bed with bullets.

Seven years after Erle Stanley Gardner’s Perry Mason, starring Raymond Burr as the iconic defense lawyer and Barbara Hale as his loyal secretary, concluded its nine-season run, CBS rebooted the series with Markham and Acker in 1973. However, it lasted just 15 episodes before being canceled.

Sharon Eileen Acker was born in Toronto on April 2, 1935, and adopted when she was 9. She attended Davisville Public School, John Fisher Public School and Northern Vocational School, where she studied art and graduated in 1953.

In 1956, she played the teacher Mrs. Stacey on a 1956 CBC adaptation of Anne of Green Gables and joined the Stratford Shakespeare Festival company, starring as Anne Page opposite future Star Trek co-star William Shatner in a production of The Merry Wives of Windsor.

She traveled to Europe to perform with the Stratford company in Henry V and remained there to make her big-screen debut in Lucky Jim (1957), starring Ian Carmichael and Terry-Thomas. British producers John and Ray Boulting called her “freshly appealing” and signed her to a seven-year contact, but she broke things off after getting married and having a child.

Back home, she appeared often on the acclaimed CBC series Festival and in 1961 portrayed Lady MacDuff alongside Sean Connery and Zoe Caldwell on a five-part adaptation of Macbeth, directed by Paul Almond.

Boorman hired her after seeing her on the CBC, and Point Blank marked her first role in the U.S. To promote the film, she and Angie Dickinson (who played her sister in the movie) appeared on the pages of Life magazine in August 1967 modeling “Well-Dressed Moll Styles in Alcatraz.”

After that, she was a welcome sight in guest stints on episodes of The Wild Wild West, Get Smart, It Takes a Thief, Lancer and Star Trek.

Acker was a divorcée who has a brief affair with a businessman (Arthur Hill) in the Canadian drama Don’t Let the Angels Fall (1969), which played in competition at Cannes. She was selected by the Motion Picture Exhibitors of Canada as their Film Star of Tomorrow that year.

And in 1970, she portrayed the wife of Hal Holbrook‘s idealistic Sen. Hays Stowe on the NBC drama The Bold Ones: The Senator.

Acker’s TV résumé also included such series as Alias Smith and Jones, Gunsmoke, Mission: Impossible, Mod Squad, Marcus Welby, M.D., Cannon, Barnaby Jones, The Streets of San Francisco, The Rockford Files, Police Story and Quincy, M.E.

Her last movie was the horror film Happy Birthday to Me (1981), and her final TV appearance came on The Young and the Restless in 1992. She retired from acting in ’94, returned to Canada with her late second husband, Peter Elkington, to live in a cottage in Muskoka, Ontario, and continue her passion for painting and sculpting.

ACKER, Sharon (Sharon Eileen Acker)

Born: 4.2.1935, Toronto, Ontario, Canada

Died: 3/16/2023, Toronto, Ontario, Canada

 

Sharon Acker’s westerns – actress:

The Wild Wild West (TV) – 1968 (Lavinia Sedgewick)

Lancer (TV) – 1969 (Tiffany Mumford)

Alias Smith and Jones (TV) – 1971 (Rachel Carlson)

Cade’s County (TV) – 1971 (Roseann Claybourne)

Gunsmoke (TV) – 1971 (Tereese Farrell)

Hec Ramsey (TV) – 1972, 1973 (Nora Muldoon)

The Hanged Man (TV) – 1974 (Carrie Gault)