Sassmouthdames

In the second instalment of an original series, clues lead Terry and Margaret to a beer garden in downtown Los Angeles. Terry spots a dame wearing Kay's necklace. Did she steal it? Meanwhile, Ivy, Fiona, and Dolly try decode a poorly written letter. Stenographers is a Sass Mouth Dames production, written and directed by Megan McGurk. Starring: Clara Higgins is Terry Nolan and Jewel Dame Jennifer O'Meara is Fiona Clarke and Client Jeanne Sutton is Margaret O'Donnell Olympia Kiriakou is Ivy Miller and Waitress M. Shawn is Dolly DePeyster and Cici Pine Megan McGurk is Kay Carroll and Alice Lawson Art Design by Clara Higgins Sound editing and Special Effects by Dan McAuley

A heart-shaped locket. Bad grammar. A beer garden. After a stenographer goes missing, the women in the office investigate the clues. Join us for the first instalment of a spy caper set in 1934. Stenographers is a Sass Mouth Dames production, written and directed by Megan McGurk. Starring: Clara Higgins is Terry Nolan and Jewel Dame Jennifer O'Meara is Fiona Clarke and Client Jeanne Sutton is Margaret O'Donnell Olympia Kiriakou is Ivy Miller and Waitress M. Shawn is Dolly DePeyster and Cici Pine Megan McGurk is Kay Carroll and Alice Lawson Art Design by Clara Higgins Sound editing and Special Effects by Dan McAuley

Linda Christian could have been Hollywood royalty, and not just because she was discovered by Errol Flynn and married to Tyrone Power. An internationally educated woman who spoke six languages, Linda was talented and a tastemaker. She could have had a career similar to Anita Colby, a former model who became 'Feminine Director' at Selznick studio, developing stars such as Ingrid Bergman and Jennifer Jones. Linda is a standout in each film she made, especially in the delightful MGM musical Athena from 1954. Unfortunately, Hollywood never figured out what to do with her.

After twenty years in front of a camera, Loretta Young walked out of her contract with Twentieth Century Fox and became a freelance star. Darryl Zanuck blackballed her as a result, which lead to months without any script offers. She began her independent film career in Columbia studio, because Harry Cohn was one filmmaker brazen enough to defy Zanuck. Loretta made two pictures: The Doctor Takes a Wife (with Ray Milland) and He Stayed for Breakfast (with Melvyn Douglas). Both pictures were critical and commercial successes and established her facility with light comedy.

After Virginia Bruce walked out on her contract with Metro, she made on of the biggest gems of her career starring in Universal's update to a classic starring Claude Rains. Unlike the Invisible Man, Virginia's character isn't driven mad by her power of invisibility. Instead, she finds out how the other half lives. Disembodied, she can settle scores, and get men to listen to her rather than focus on her beauty. Curt Siodmak created a glorious satire about being a woman in a man's world.

In 1935, Marlene Dietrich was at a turning point in her career. Paramount studio had decided to end her professional collaboration with director Josef von Sternberg. Marlene needed to prove that she could carry a picture without her reported 'Svengali'. She renewed her contract with a provision that she would have Ernst Lubitsch as director, but he was made head of studio production and had no time to direct. Marlene chose Frank Borzage as a replacement. With Gary Cooper cast as co-star, the picture was a critical and commercial success, and demonstrated that Marlene had a knack for light romantic comedy.

Claire, Lois, and Cash finish replacement costumes for the screen test in Goldwyn's studio while Helen and Gail sneak into Monogram's lot as extras to find out what Dmitri has planned. An unexpected visitor to Claire's shop gums up the works. Join us for the story's conclusion. Mannequins is written and directed by Megan McGurk Starring: Clara Higgins as Claire Delahunt and Lilyan Tashman Jennifer O'Meara as Lois Kenny Jeanne Sutton as Helen Flaherty Olympia Kiriakou as Gail Lindstrom M. Shawn as Princess Casimir (Cash) Megan McGurk as Miriam Thorndyke and Frances Goldwyn Art design by Clara Higgins Sound editing and special effects by Dan McAuley

Dress designer Claire, along with her fitter, Lois, and mannequins Helen, Gail, and Cash have worked hard getting ready for the screen test in Goldwyn studio. Our story picks up three days before the screen test. When the ladies return from lunch, twenty costumes have disappeared. Was it the fashion pirates who try to steal Claire's designs? Or was it Dmitri Cosmo, the shady costumer from Monogram? Mannequins is written and directed by Megan McGurk. Starring: Clara Higgins as Claire Delahunt and Lilyan Tashman Jennifer O'Meara as Lois Kenny Jeanne Sutton as Helen Flaherty Olympia Kiriakou as Gail Lindstrom M. Shawn as Princess Casimir (Cash) Art design by Clara Higgins Sound editing and special effects by Dan McAuley

Dress designer Claire Delahunt receives an invitation to audition for a contract as head designer in Goldwyn studio. Will she be able to beat the competition from Dmitri Cosmo, the costumer from Monogram on Poverty Row? Our story opens on 3 January, 1934. Mannequins is a Sass Mouth Dames production, written and directed by Megan McGurk. Starring: Clara Higgins as Claire Delahunt and Lilyan Tashman Jennifer O'Meara as Lois Kenny Jeanne Sutton as Helen Flaherty Olympia Kiriakou as Gail Lindstrom M. Shawn as Princess Casimir Megan McGurk as Frances Goldwyn Art design by Clara Higgins Sound editing and special effects by Dan McAuley

By the time Patricia Neal signed with Warners in 1948, the studio system had changed. Contract players were no longer given time to develop in smaller parts until they learned the craft. Jack Warner built so much publicity around Neal as the next Bette Davis and the greatest thing since Garbo, that when her second picture.The Fountainhead, did middling business, he took it out on her(instead of Rand's turgid dialogue). Warners dropped Pat's option three years into a seven-year contract. But during production, Pat met the love of her life. She was with Gary Cooper for almost four years. Decades later, when she was in despair, the love she had for Cooper brought her peace through a reconciliation with Rocky and Maria Cooper.

Judy Holliday's career was tragically short, but she left an indelible imprint on motion pictures. Bells are Ringing (1960) showcases her incredible gift for making every bit of business look spontaneous and of the moment, even though she had performed the part over 1000 times on stage. She teamed up with her old theatre kid partners, Betty Comden and Adolph Green to play the part of the Good Samaritan of the Susanswerphone agency.

Our story concludes! Mae finds a way to fix Mrs Howard's wagon. Polly makes an important connection. Cora finds a way to live with what happened at the circus party. Ruby has a scene to prepare. June looks forward to greener pastures. Mimi gets a new role. Starring: Clara Higgins as Mae Devine Jennifer O'Meara as Polly Trainor Jeanne Sutton as Cora Smith Olympia Kiriakou as Ruby Dawn M. Shawn as June Winter Megan McGurk as Mimi Stone Salon Devine was written and directed by Megan McGurk Art Design by Clara Higgins Sound editing and sound effects by Dan McAuley

In episode two, Polly talks about her date with Bennett Cerf. Cora reveals what happened at the circus party. Mae receives a visit from Mrs Howard. June's 'rafter romance' takes a turn. And will Ruby have a shot at a screen test? Starring: Clara Higgins as Mae Devine Jennifer O'Meara as Polly Trainor Jeanne Sutton as Cora Smith Olympia Kiriakou as Ruby Dawn M. Shawn as June Winter Megan McGurk as Mrs Howard Salon Devine was written and directed by Megan McGurk Art design by Clara Higgins Sound editing and special effects by Dan McAuley

Our story opens on 1 September 1933 in Salon Devine, located at Broadway and 45th. Meet the dames: Mae Devine is played by Clara Higggins Polly Trainor is played by Jennifer O'Meara Cora Smith is played by Jeanne Sutton Ruby Dawn is played by Olympia Kiriakou June Winter is played by M. Shawn Mimi Stone is played by Megan McGurk Salon Devine is written and directed by Megan McGurk Cover art by Clara Higgins Sound editing and special effects: Dan McAuley

In 1939, Joan Crawford attempted to rebound from personal and professional setbacks by taking a risk on a small part an ensemble picture where even the roles of maids were fought over. Studio boss Louis B Mayer didn't want Joan to take the part. She stuck to her guns and made Crystal Allen a standout. Joan uses four different New York accents to show that a social climber needs to not only look the part, but sound it, too. And I'll tell you about the real backstage power struggle--between men.

Before the craze for mob syndicates became all the rage in Hollywood, Frank Capra's picture with Barbara Stanwyck and Marie Prevost argued that rich men were the real gangsters. Men in the society register could serve caviar in office orgies and maul gals on the night boat to Albany. Kay Arnold (Stanwyck) and Dot Lamarr (Prevost) are just two working girls trying to make a living on the edges of society graft. Their friendship is more compelling than the romantic angle. When the chips are down, you can rely on a dame like Marie Prevost. Stanwyck's star vehicle is still one of her best performances.

Lana Turner received her only Oscar nomination for her performance as a single mom who runs a dress shop in a conservative small town. The picture showcases the acting techniques she developed over 18 years in MGM with drama coach Lillian Burns. The screen adaptation of the bestseller by Grace Metalious was one of the biggest hits of her career. Peyton Place also coincided with the biggest scandal of her life.

Doris Day made a big splash in her screen debut. Armed with hipster sass, a great wardrobe, and songs that rocked the hit parade, she is every bit the star. Doris was so successful at the box office that the studio worked her like a dog until she had a nervous breakdown. Despite the pressure of being a star and the men who exploited her sunny persona, Doris Day was a survivor.

Esther Williams turns the life story of Australian swimmer Annette Kellerman into a big Hollywood spectacle that also has something to say about a woman's right to work and define her own life. The backstage drama surpassed what occurs on the screen. Esther enjoyed a lusty affair with co-star Vic Mature and performed dangerous stunts throughout production. She was probably the only star in MGM the front office could not threaten to replace.

Elizabeth Taylor had nearly as many problems with her health during production of Cleopatra as she had costume changes. Although she negotiated a sweet deal to star as the legendary queen, the pressure from studio executives, investors, and insurance agents was ruinous. They made bad decisions that endangered her life. And then the affair with Burton nearly ended it--twice. Elizabeth Taylor rose above calamity like a queen.