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#TBT - Thaao Penghlis

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Credit: NBC

This interview originally appeared in the April 24, 1984 issue of Soap Opera Digest.

On the Razor’s Edge with Thaao Penghlis

Don’t try to peg him. Or pin him down or compartmentalize him or wrap him up neatly in a cliché. Because Thaao Penghlis isn’t interested in the good or the bad, the black or the white or the simple answer. It’s the gray area in between; the place where anything is possible that fascinates him – not only in his work but in his life.

The handsome young actor who first came to daytime viewers’ attention as one of the diabolical Cassadines on “General Hospital,” quickly moved to “Days of Our Lives” under the protective wing of then-head writer Pat Falken Smith, as the nefariously charming Count Anthony DiMera. Although Ms. Smith and many of the actors she brought to the “Days” family were soon gone, Thaao lasted primarily because of a popularity that simply wouldn’t die. And due to that popularity, Thaao is now on the verge of a storyline that has him clapping his hands with delight.

And while Penghlis takes such obvious pleasure in his profession, his first dream after high school was to become an archeologist. Born in Greece, Thaao emigrated with his family to Australia, where he held that country’s 100-meter hurdle record for over ten years. Instead of becoming an archeologist, however, Thaao served with the diplomatic corps in Sydney, working with Greek immigrants seeking Australian citizenship. Taking a leave of absence to see the world, Thaao arrived in New York City with $180.00 in his pocket. At a party there, he was introduced to director Milton Katselas, who inspired him to pursue an acting career. By day, Thaao was an apprentice antique dealer and by night he was a drama student. Since then, Thaao has appeared on Broadway in “Jockeys,” and has had parts in the films “Altered States,” and “Slow Dancing in the Big City,” among others. Besides “General Hospital,” television audiences have seen Penghlis in “Nero Wolfe,” “Hart to Hart,” and “Moviola.”

Penghlis has come half way around the world searching for his place in it and in America, besides finding a career, he’s also found a home. “America has become my country,” he admitted in an earlier interview. “America is built on change. And Australia is built on waiting to see how the change will affect them.”

Now for Thaao, home is a two-story affair in a parcel of West Hollywood real estate, which could best be described as “fading gothic grandeur;” a distinction which sets it apart from the rest of the fifties-style architecture on the street. Inside, the distinction is no less apparent. As with Thaao’s personality, his home is eclectic. For example: a chair whose backing is entirely composed of antlers, two fake-ivory pedestals constructed in the form of thin pyramids, a French writing table, a variety of plants and an odd mix of artwork which covers the wall. What is genuinely singular about this mélange is that it works – which also says something about Thaao.

“I’m finally relaxing into ‘Days,’” says Penghlis as he slides onto a couch. “I don’t know why it’s taken so long but I do know that to work on DOOL is a greater struggle than it was on GH. Take the character of Tony, for example. I’ve had to create Tony. I provide my own clothes for the show and I’ve literally had to ransack my closet to give Tony not only his sense of clothes, but his sense of color as a character. Of course Lee Smith, who helped me, but I still resented the fact that a lot of the work of putting Tony together was left to me. Now, I realize that it was a very important thing for me to do because if I hadn’t been able to make Tony as forceful as he is, I think he would’ve been killed off the show a long time ago.” Indeed, sources within the cast and crew agreed with Thaao’s perception. Bottom line: If Tony DiMera wasn’t as popular as he is, he would be gone by now. Thaao attributes this to two reasons.

“First, Tony is a difficult character. There was a period when Tony came out as the loser or the victim and I wasn’t about to stay with that. An audience isn’t interested in following that kind of character. You’ve got to bring them something special,” Thaao theorizes. “What I’m trying to do with Tony is say, ‘Hey, if you follow me, I’ll show you a way you’ve never been before. I will show you an interpretation of life that possibly you’ve not tasted.’ That’s what I believe originality is. It’s the ability to put forth something that you’re seen before, but not with that interpretation. You’ve seen rich guys and diabolical guys on shows already and, let’s face it, one thing about soaps is that a lot of it is borrowed,” he concedes. “I wanted Tony to be different; the kid of man you’d love to sit in a corner with but at the same time you would be scared to be seen with him. Tony’s not like Roman Brady, he’s not a nice guy like Chris Kositchek. Those characters don’t surprise you because they’re safe; the majority of the audience wants to identify with them. Whereas, if you decide to take Tony DiMera’s side, you might lose. Then again, there could be the possibility of a great prize.

“Second, in addition to Tony being a difficult character,” Thaao says honestly, “I’m difficult. I fight a lot because I don’t like to settle.” Co-star Leann Hunley (Anna Brady DiMera) seconds this motion. “Thaao is a perfectionist and because you don’t have the luxury of time to get it perfect every time, he’d often start his day in a very gloomy, downbeat mood. But when he realized that his attitude was affecting our scenes together,” Hunley notes, “he did an about-face and since then there’s been a complete change in his approach to the show.”

“I’m much happier now,” concurs Thaao. “And do you know why?” he asks enthusiastically. “I like my producer. For the first time in two years, I finally got to like him. I never liked him before. I’m honest about it, and I think he is too, because up until now, Al Rabin always regarded me as a thorn in his side.”

You can almost hear Al Rabin smile over the phone upon hearing Thaao’s statement. “Thaao and I have had our differences,” Rabin agrees diplomatically, “but the majority of the credit for the success of the Tony DiMera character goes to him. However, if we do anything right here, it’s observing the actor, becoming aware of his uniqueness,” he adds thoughtfully. “In other words, we write it one way but if the actor gives us a different direction that works, we go with it. We’ve tried several things with Thaao and he’s finally found a wonderful niche. Granted, we’ve had to adjust and at times that can be difficult, but it’s worth it. The audience response has been tremendous,” Rabin admits.

With the power of popularity comes the perks of pleasure and while Thaao declares that his first priority is his art collection (“They’re very important to me, an outward expression of my inward feelings”), he does confess to purchasing an ’84 Corvette. “Last year I was leaving Mann’s Chinese Theatre and I had just signed an autograph for a family. My car was parked outside and the kid looked up at his father and said, ‘If he’s such a big star, why’s he driving that old car?’ The father said, ‘Well son, that’s a restored Mustang. That’s an important car.’ The kid said, ‘Oh, I see.’ But I wasn’t sure if the father did, either. Suddenly, a little bell went off in my head and I knew it was time to buy a toy.”

While celebrity has a certain amount of fringe benefits, like getting a good table in a good restaurant, there are drawbacks as well, like being bothered at a good table in a good restaurant. “Fans have a tendency,” notes Penghlis, “to come up to you in the middle of a meal and say, ‘I know you’re eating, but …’ As a consequence, when I go out, I tend to sit in the chair or booth which puts my back to the rest of the restaurant. The other problem with being recognized hit me one day when I though, ‘My God, I can’t walk down the street anymore without someone looking at me.’ Now, you don’t always look your best. Let’s face it, most people see you when you’re on camera and you’re wearing makeup and your best clothes and you look great. But you can’t look great all the time so I tend to be more private than I used to.”

“I’m amazed when I open a magazine or a book and see how so many celebrities discuss their lives so openly,” Thaao says, sounding genuinely perplexed. “I think to myself: What do I owe my audience? Certainly I owe them a performance, but I’m not sure that I owe them much more. I’m not the National Enquirer. On the other hand, I’m curious about the public’s need to know. I’m not a voyeur. I’m not interested in what someone else does in bed,” he muses. “It’s not as if I can jump in bed with them.” Thaao pauses and sips a cup of espresso, the steam seemingly curling his face into a grin. “When people ask me about my love life I don’t name names but I do admit to thinking of myself as a great lover because I’m a great eater. I mean that in the sense that I love taste. I love texture. I love flesh.”

On a less intense level, it might be safe to say that Thaao loves women. That’s with an emphasis on the “e” because as of yet, there’s no special woman in Thaao’s life. “I often get asked, ‘Why aren’t you married?’ And my response is, ‘Oh, is that the answer?’ A lot of people think it is, but I haven’t found the answer yet. I’m still asking questions and that’s healthy. However, when I find the right, independent woman, I’ll marry and I definitely want children. To me, children are life.”

So if family is still relegated to the future, Thaao is making the present count by creating a sense of family, both on and off the set. This past Christmas, Thaao held a party for the orphan friends of his in Los Angeles who couldn’t be with their families on Christmas because of work or travel or possibly because they no longer had a family to spend the holidays with. While he readily acknowledges that he spent a good deal of money on the bash, Penghlis doesn’t regret it for an instant. “People are so tight. They’re tight with money, with love, they’re tight in giving of themselves and then they wonder why things don’t happen for them. Christmas was a gift for my friends – not some date where you mark time – but a day where you celebrate being together. It was so nice being the magnet that brought all those people into one room. That was my Christmas present.”

The above is a prime example of the modern-day do-unto-others-as-you-would-have-them-do-unto-you which is known as karma, and Thaao’s belief in that basic principle is reflected in his wish for ’84. It’s not more money or a starring role opposite Meryl Streep or even lamb’s wool seat covers for that new Corvette. “I want,” says Thaao with hushed simplicity, “to see peace around me.”

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