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GRIFFIN DAILY NEWS MAGAZINE
Television
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CHILD LABOR in South Vietnam where a little girl splits
bamboo to make a broom. Her village, 20 miles north of
Saigon, was attacked by Viet Cong and North Vietnamese
army mortars which destroyed 110 houses, killing nine
persons and wounding 48 others.
6
TV CAMEOS:
Joyce as Unwed Ma Doesn’t Faze Her Mother
By MEL HEIMER
AT TWENTY, Miss Joyce Jillson is a hand
some, sweet, innocent-looking blonde whom one
would like to protect, and one could understand
it if her schoolteacher mother, back in Rhode
Island, got just a little bit aghast at her daugh
ter playing an unwed mother on ABC's twice
weekly night-time serial, “Peyton Place.” But
ma has been well-trained.
Three years ago, at 17, Joyce was appearing
on Broadway in a play and her mother phoned
one night and said “Honey, I don’t know that
you should traipse off to Southampton with
your friends this weekend. After all, you’re only
17 and—.”
“Mother!” Joyce exclaimed. "Here I’m being
raped onstage eight times a week, including
two matinees —and you're worried about me go
ing to SouthHAMPTON?” Her mother saw the
point; her little girl had .grown up. “Now,"
Joyce says with a smile, “she takes my career
in stride. Actually, she’s my severest critic —and
she’s marvelous at it. When she tells me I
didn’t play a scene right, or my lighting was
no good—she’s always absolutely right.”
• • •
"PEYTON PLACE,” now in its fourth year
and approaching its 400th episode, is about the
only night-time soap opera around, but it is done
with quality and professionalism. Its stars in
clude, or have included, Dorothy Malone, Gina
Rowlands, Dan Duryea, Barbara Parkins, Mia
Farrow and many others, and its techmeal
crew—well, as Joyce says, “the movies are al
ways hanging around, trying to hire them away.”
Miss Jillson, who’s hippie age but hasn’t the
time nor inclination for that go-around, plays
“Jill Smith” on the show and her first episodes
("Peyton" tapes far ahead) will be seen in
mid-January. "The first three weeks,” she says,
“my dear little illegitimate baby is in every
scene with me—and while I love kids, I never
handled a baby in my life. It was nervous-mak
ing.
"Back in Cranston, R.1., we had a group of six
or seven of us who were baby-sitters—but there
was only one baby in the whole place to sit
with. We took turns, but I remember a girl
named Susan Sherman had a mother who would
book her daughter for the job like eight months
ahead. So I never got any experience.”
NO ROMANCE has been lined up for Joyce on
the show yet, “but I think I have my eye on
Dr. Rossi, played by Ed Nelson. My biggest
problem is, they’ve raised a mysterious doubt
about Whether the baby is actually mine—the
writers won't tell me ahead of time if it is or
not. They claim THEY even don’t know yet.”
Acting has been in her young blood for a long
time. At 14, she cut classes in Cranston and
went to New York and auditioned for a summer
theater, lying about her age, and got the job.
spending a happy vacation doing chores for such
stars as Shelley Berman, Tammy Grimes and
Danny Kaye. From then on, she aimed in one
direction. At 18 she moved to New York—“my
mother gave me six months there, if I’d return
- :
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FEAR ANO BEWILDERMENT show in the expressions of this South Vietnamese woman and
child after a Viet Cong attack on their village near Da Nang. The enemy mortar-fired the
village, then moved in and took 11 children captive.
Joyce Jillson
Distributed by King Features Syndicate
Bat and Son., Feb. S-4, ISM
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Joyce Jillaon'a ma knows now that she
has grown up at last, and has become
her daughter's severest critic and guidon.
home and resume college if I didn’t succeed”—
and got a job in an off-Broadway play, and she
was on her way.
Miss Jillson played nine months in “Roar of
the Greasepaint” with Tony Newley and Cyril
Ritchard and later did a flop revue, “La Grosse
Valise” on Broadway. She did some TV work
in California in 1966—“ Man from U.N.C.L.E.”
and "Jericho”—and in the spring of ’67 got the
"Peyton Place” job.
Being in soap opera, even if it is a high-class,
prime-time one, doesn’t bother her one bit. “I
love it!” she exclaims, “and you know, th®
writing and staging are so good, that any sub
sequent jobs I get, even a good movie role, will
have to be pretty darned fine to afford me as
much pleasure." She works nearly 13 hours a
day, five days a week, sleeps on weekends—
“ And I have a boyfriend who does nothing but
read”—and plays the Irish harp, the lyre and
piano. She also has a mother who keeps saying
“I’m your mother. Go on, you can tell ME
what’s going to happen next on ’Peyton.’”
Joyce would—if she knew.