{"id":205,"date":"1982-04-23T20:50:29","date_gmt":"1982-04-23T20:50:29","guid":{"rendered":"https:\/\/performingartslegacy.org\/rachelle\/?p=205"},"modified":"2020-08-25T09:29:25","modified_gmt":"2020-08-25T13:29:25","slug":"all-my-children-1982","status":"publish","type":"post","link":"https:\/\/performingartslegacy.org\/rachelle\/all-my-children-1982\/","title":{"rendered":"All My Children, 1982"},"content":{"rendered":"\n<p>In 1982, I was performing in a play on theater row called Meegan\u2019s Game in the role of the rabbi. During the run, agent Marvin Starkman came to see the show. Afterwards, he came backstage and said he really enjoyed my performance and would like to sign me to his agency.<\/p>\n<p><span style=\"font-family: inherit\">Three weeks later (after the play had closed) Marvin told me that he had an audition for me for the role of Stu Samuels, Photographer\/Pornographer on All My Children. The beard that I\u2019d had for the role of the rabbi in Meegan\u2019s Game turned out to be a plus.&nbsp;<\/span><\/p>\n<div id=\"attachment_243\" style=\"width: 4570px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-243\" class=\"size-full wp-image-243\" src=\"https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Stu-Samuels-Publicity-Shot.jpg\" alt=\"\" width=\"4560\" height=\"5700\" srcset=\"https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Stu-Samuels-Publicity-Shot.jpg 1280w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Stu-Samuels-Publicity-Shot-240x300.jpg 240w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Stu-Samuels-Publicity-Shot-768x960.jpg 768w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Stu-Samuels-Publicity-Shot-819x1024.jpg 819w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Stu-Samuels-Publicity-Shot-973x1216.jpg 973w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Stu-Samuels-Publicity-Shot-508x635.jpg 508w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Stu-Samuels-Publicity-Shot-1250x1563.jpg 1250w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Stu-Samuels-Publicity-Shot-400x500.jpg 400w\" sizes=\"auto, (max-width: 4560px) 100vw, 4560px\" \/><p id=\"caption-attachment-243\" class=\"wp-caption-text\">Bernie as Stu Samuels, 1982<\/p><\/div>\n<p>I landed the role opposite Sylvia Miles and Kim Delaney. The role, which was \u201crecurring,\u201d went on for the whole summer, and even months later they brought me back. When they did, the producer asked if I was surprised to be back. I told her \u201cNo. Actors live on hope.\u201d<\/p>\n<div id=\"attachment_241\" style=\"width: 2642px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-241\" class=\"wp-image-241 size-full\" src=\"https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Soap-Opera-Digest-e1523907300523.jpg\" alt=\"\" width=\"2632\" height=\"3982\" srcset=\"https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Soap-Opera-Digest-e1523907300523.jpg 1058w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Soap-Opera-Digest-e1523907300523-198x300.jpg 198w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Soap-Opera-Digest-e1523907300523-768x1162.jpg 768w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Soap-Opera-Digest-e1523907300523-677x1024.jpg 677w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Soap-Opera-Digest-e1523907300523-973x1472.jpg 973w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Soap-Opera-Digest-e1523907300523-508x769.jpg 508w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Soap-Opera-Digest-e1523907300523-1250x1891.jpg 1250w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Soap-Opera-Digest-e1523907300523-400x605.jpg 400w\" sizes=\"auto, (max-width: 2632px) 100vw, 2632px\" \/><p id=\"caption-attachment-241\" class=\"wp-caption-text\">An article in Soap Opera Digest to keep readers up-to-date in case they missed an episode, 1982.<\/p><\/div>\n<p>I remember leaving the studio one day with Sylvia Miles to have lunch. There were a group of teenagers who shouted at us \u201cyou\u2019d better not hurt Jenny!\u201d (played by Kim Delaney). Sylvia turned to me and said \u201cwe must be doing something right.\u201d These teenagers were seeing us as the characters we played and not as actors, and it was great to be that convincing.<\/p>\n<div id=\"attachment_242\" style=\"width: 4570px\" class=\"wp-caption alignnone\"><img loading=\"lazy\" decoding=\"async\" aria-describedby=\"caption-attachment-242\" class=\"size-full wp-image-242\" src=\"https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Signed-Sylvia-Miles-Headshot.jpg\" alt=\"\" width=\"4560\" height=\"5700\" srcset=\"https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Signed-Sylvia-Miles-Headshot.jpg 1280w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Signed-Sylvia-Miles-Headshot-240x300.jpg 240w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Signed-Sylvia-Miles-Headshot-768x960.jpg 768w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Signed-Sylvia-Miles-Headshot-819x1024.jpg 819w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Signed-Sylvia-Miles-Headshot-973x1216.jpg 973w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Signed-Sylvia-Miles-Headshot-508x635.jpg 508w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Signed-Sylvia-Miles-Headshot-1250x1563.jpg 1250w, https:\/\/performingartslegacy.org\/rachelle\/wp-content\/uploads\/sites\/52\/2018\/04\/Signed-Sylvia-Miles-Headshot-400x500.jpg 400w\" sizes=\"auto, (max-width: 4560px) 100vw, 4560px\" \/><p id=\"caption-attachment-242\" class=\"wp-caption-text\">Signed headshot Sylvia Miles gave me after the shoot wrapped, 1982.<\/p><\/div>\n<p>Before working on one, I though soap operas were easy, that anyone could do them. But I remember getting thirty pages of script for the first episode a week before we started shooting it. I began to realize there was much more to them than I thought. After the first day of shooting, I got another ten pages for the next day. A typical day on a soap opera starts at 7am with rehearsal, which runs until lunch. Shooting follows in the afternoon, scenes being done in no more than two takes, moving from one to another until 7pm. The 12-hour days, the quick prep time, the fast pace \u2014 it all&nbsp; gave me a whole new respect for soaps!<\/p>\n<p class=\"wp-report-this\"><a href=\"https:\/\/performingartslegacy.org\/rachelle?moderation_action=report_form&amp;object_type=post&amp;object_id=205&amp;width=250&amp;height=300\" class=\"thickbox\" title=\t\t    \n\t\t\t    \n<\/p>\n","protected":false},"excerpt":{"rendered":"<p>In 1982, I was performing in a play on theater row called Meegan\u2019s Game in the role of the rabbi. During the run, agent Marvin Starkman came to see the show. Afterwards, he came backstage and said he really enjoyed my performance and would like to sign me to his agency. Three weeks later (after [&hellip;]<\/p>\n","protected":false},"author":50,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[1],"tags":[],"class_list":["post-205","post","type-post","status-publish","format-standard","hentry","category-highlight"],"metadata":{"_edit_lock":["1598362048:38"],"_edit_last":["38"],"_wpac_members_redirect_to":[""],"_wpac_show_in_search":["0"],"_wpac_show_excerpt_in_search":["0"],"_wpac_nonmembers_redirect_to":[""],"_wp_old_date":["2018-04-16"],"ase_chapter_enable_timeline":["off"],"ase_map_component_start_point":["a:2:{s:3:\"lat\";d:29.76;s:3:\"lng\";d:-95.38;}"]},"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.7 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>All My Children, 1982 - Bernard Rachelle<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/performingartslegacy.org\/rachelle\/all-my-children-1982\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"All My Children, 1982 - Bernard Rachelle\" \/>\n<meta property=\"og:description\" content=\"In 1982, I was performing in a play on theater row called Meegan\u2019s Game in the role of the rabbi. During the run, agent Marvin Starkman came to see the show. Afterwards, he came backstage and said he really enjoyed my performance and would like to sign me to his agency. 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That summer he appeared on Ted Mack's amateur hour and made a subsequent appearance two years later. In 1959 Bernard introduced rock and roll to Israel and appeared opposite Topol in the comedy feature film \\\"I Like Mike\\\". Soap fans will recall his role as photographer\\\/pornographer Stu Samuels opposite Sylvia Miles and Kim Delaney on \\\"All My Children\\\". He is most proud of his work on Arthur Miller's \\\"Incident at Vichy\\\". The first New York City revival that Mr. Miller attended was in 1981. Years later Mr. Miller graced 4 staged readings with \\\"Bernie\\\", along with varying casts featuring Richard Dreyfuss, Fritz Weaver, Peter Weller, Austin Pendelton, F. Murray Abraham and Barry Primus. While his film career spans 3 decades including \\\"Fort Apache, The Bronx\\\", \\\"Rollover\\\", \\\"Blowout\\\", \\\"The Purple Rose of Cairo\\\" and \\\"The Yards\\\", in 2006 Bernard co-starred as Chaim opposite Denzel Washington and Clive Owen in Spike Lee's \\\"Inside Man\\\". Recently, Bernard played the lead, Edgar, in the short film \\\"The Cemetery Club\\\", winner of the Palm Beach International Film Festival, and Schleimann in the Vlad Nikolic cult film \\\"Zenith\\\". In 2013 he appeared as Judge Glaser in the feature film \\\"Rob the Mob.\\\" \\\"Courier X,\\\" released in 2016, saw him play a diamond examiner. On the small screen, Bernard currently appears in an Emblem Health Insurance commercial. Bernard has written and will soon perform his one man show \\\"Abe &amp; Lillian's Bungalow Colony\\\", a take-off on the Catskills Mountains, set in 1977. Bernard is a proud member of ARTC - American Renaissance Theatre.\",\"sameAs\":[\"https:\\\/\\\/www.bernardrachelle.com\\\/\"],\"url\":\"https:\\\/\\\/performingartslegacy.org\\\/rachelle\\\/author\\\/rachelle\\\/\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"All My Children, 1982 - Bernard Rachelle","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/performingartslegacy.org\/rachelle\/all-my-children-1982\/","og_locale":"en_US","og_type":"article","og_title":"All My Children, 1982 - Bernard Rachelle","og_description":"In 1982, I was performing in a play on theater row called Meegan\u2019s Game in the role of the rabbi. During the run, agent Marvin Starkman came to see the show. Afterwards, he came backstage and said he really enjoyed my performance and would like to sign me to his agency. 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That summer he appeared on Ted Mack's amateur hour and made a subsequent appearance two years later. In 1959 Bernard introduced rock and roll to Israel and appeared opposite Topol in the comedy feature film \"I Like Mike\". Soap fans will recall his role as photographer\/pornographer Stu Samuels opposite Sylvia Miles and Kim Delaney on \"All My Children\". He is most proud of his work on Arthur Miller's \"Incident at Vichy\". The first New York City revival that Mr. Miller attended was in 1981. Years later Mr. Miller graced 4 staged readings with \"Bernie\", along with varying casts featuring Richard Dreyfuss, Fritz Weaver, Peter Weller, Austin Pendelton, F. Murray Abraham and Barry Primus. While his film career spans 3 decades including \"Fort Apache, The Bronx\", \"Rollover\", \"Blowout\", \"The Purple Rose of Cairo\" and \"The Yards\", in 2006 Bernard co-starred as Chaim opposite Denzel Washington and Clive Owen in Spike Lee's \"Inside Man\". Recently, Bernard played the lead, Edgar, in the short film \"The Cemetery Club\", winner of the Palm Beach International Film Festival, and Schleimann in the Vlad Nikolic cult film \"Zenith\". In 2013 he appeared as Judge Glaser in the feature film \"Rob the Mob.\" \"Courier X,\" released in 2016, saw him play a diamond examiner. On the small screen, Bernard currently appears in an Emblem Health Insurance commercial. Bernard has written and will soon perform his one man show \"Abe &amp; Lillian's Bungalow Colony\", a take-off on the Catskills Mountains, set in 1977. Bernard is a proud member of ARTC - American Renaissance Theatre.","sameAs":["https:\/\/www.bernardrachelle.com\/"],"url":"https:\/\/performingartslegacy.org\/rachelle\/author\/rachelle\/"}]}},"_links":{"self":[{"href":"https:\/\/performingartslegacy.org\/rachelle\/wp-json\/wp\/v2\/posts\/205","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/performingartslegacy.org\/rachelle\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/performingartslegacy.org\/rachelle\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/performingartslegacy.org\/rachelle\/wp-json\/wp\/v2\/users\/50"}],"replies":[{"embeddable":true,"href":"https:\/\/performingartslegacy.org\/rachelle\/wp-json\/wp\/v2\/comments?post=205"}],"version-history":[{"count":0,"href":"https:\/\/performingartslegacy.org\/rachelle\/wp-json\/wp\/v2\/posts\/205\/revisions"}],"wp:attachment":[{"href":"https:\/\/performingartslegacy.org\/rachelle\/wp-json\/wp\/v2\/media?parent=205"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/performingartslegacy.org\/rachelle\/wp-json\/wp\/v2\/categories?post=205"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/performingartslegacy.org\/rachelle\/wp-json\/wp\/v2\/tags?post=205"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}