Scene and Heard
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Melissa Claire Egan (Chelsea, Y&R) and Karla Mosley (ex-Maya, B&B) attended the same high school in New York, where they shared a role in one of their school’s productions. “In our senior year we did Joseph And The Amazing Technicolor Dreamcoat, and in this particular musical, every character sings their lines, no one speaks,” Egan explains. “The narrator of Joseph does a lot of singing, so for our production, they split the narrator role, which meant Karla and I took turns with the singing.” Although the actresses would be reunited years later when Egan landed on Y&R and Mosley was across the hall at B&B, they would occasionally run into each other before that when they both lived in New York City. “I was on ALL MY CHILDREN [as Annie] and Karla was on GUIDING LIGHT [as Christina], so we would bump into each other and catch up,” Egan shares. “When she was on B&B, we would see each other frequently, which was really nice. I would love if she came back to play Maya because that would mean I’d be seeing her again.”
Photo credit: JPI
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David Lautman (Smoltz) credits his on-screen supervisor, Nancy Lee Grahn (Alexis), with helping him acclimate to GH. “I owe a lot to Nancy,” he declares. “First off, she is an extraordinarily talented actress who has a great habit of making her scene partners look like rock stars, which clearly has been substantiated by her multiple Emmy and Soap Opera Digest Award wins. When I first came on the show she took an immediate liking to me, even proclaiming after I wrapped, out loud for all to hear, ‘I love this guy, we gotta bring him back! He could be like my quirky sidekick.’ I jokingly volleyed back saying ‘That sounds good to me, I’m down for anything, I can do light dusting around the office, organize files, whatever you need, Alexis!’ I think right from the get-go we had great chemistry together and the scenes seemed to click. Part of that could be attributed to the fact that Nancy is really great at making sure we find the time to speed-read our scenes together a bunch of times before shooting, so we really get the rhythm, words and blocking of the scene in our bones.”
Melissa Claire Egan (Chelsea, Y&R) and Karla Mosley (ex-Maya, B&B) attended the same high school in New York, where they shared a role in one of their school’s productions. “In our senior year we did Joseph And The Amazing Technicolor Dreamcoat, and in this particular musical, every character sings their lines, no one speaks,” Egan explains. “The narrator of Joseph does a lot of singing, so for our production, they split the narrator role, which meant Karla and I took turns with the singing.” Although the actresses would be reunited years later when Egan landed on Y&R and Mosley was across the hall at B&B, they would occasionally run into each other before that when they both lived in New York City. “I was on ALL MY CHILDREN [as Annie] and Karla was on GUIDING LIGHT [as Christina], so we would bump into each other and catch up,” Egan shares. “When she was on B&B, we would see each other frequently, which was really nice. I would love if she came back to play Maya because that would mean I’d be seeing her again.”
Photo credit: JPI
David Lautman (Smoltz) credits his on-screen supervisor, Nancy Lee Grahn (Alexis), with helping him acclimate to GH. “I owe a lot to Nancy,” he declares. “First off, she is an extraordinarily talented actress who has a great habit of making her scene partners look like rock stars, which clearly has been substantiated by her multiple Emmy and Soap Opera Digest Award wins. When I first came on the show she took an immediate liking to me, even proclaiming after I wrapped, out loud for all to hear, ‘I love this guy, we gotta bring him back! He could be like my quirky sidekick.’ I jokingly volleyed back saying ‘That sounds good to me, I’m down for anything, I can do light dusting around the office, organize files, whatever you need, Alexis!’ I think right from the get-go we had great chemistry together and the scenes seemed to click. Part of that could be attributed to the fact that Nancy is really great at making sure we find the time to speed-read our scenes together a bunch of times before shooting, so we really get the rhythm, words and blocking of the scene in our bones.”
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