Tuesday, October 28, 2025

Inger's Debut on Broadway (1956)

After gaining experience performing in summer stock and television, Inger made her Broadway debut in a play fittingly titled Debut at the Holiday Theatre in late February 1956. Sadly, the play proved to be a flop but Inger had a sense of humor about it. She told Louella Parsons, “I was on Broadway for six months without actually being there. I opened in a play at the Holiday Theatre called Debut. It lasted four days and was a dismal failure. The theatre closed, but my name remained in lights on the marquee until the theatre reopened six months later.”

Directed by John Gerstad and written by Mary Drayon, the play's stars were Tom Helmore (who was also married to Ms. Drayton) and Inger. The cast and crew had traveled to Boston early on in the month for try-outs at the Wilbur Theatre and one critic asserted that Inger was “a born actress and she shines all over the stage.”. In the play, a Southern belle falls for a newspaperman who doesn’t match her family’s social standards. 

Leading up to the play’s Broadway opening, Inger was the star of a multi-page spread in This Week magazine. She posed with animals in the Central Park Zoo and shared acting techniques she’d learned from Strasberg during her classes at the Actor’s Studio. 



Walter Winchell assured readers that Inger was far from fault for Debut’s failure, stating, “Locals still gab about the fine performance of newcomer Inger Stevens…most critics raved about her.” Though Winchell was a good guy to have in your corner, it is certain that his positive take was not enough to strengthen Inger against the negative reviews of her performance. 

Brooks Atkinson called Inger’s acting “a problem” and her performance “high-strung, aggressive…shallow, frantic.” This complaint of franticness was echoed in Hal Eaton’s assertion that Inger “bounces around like a rubber ball”, Viola Jenning’s reflection that Inger was imitating a “human being shot from a cannon.” Inger’s harshest critic was Isabel Dunn, author of the book Maria and the Captain on which the play was based, who summed Inger up as “absolutely incompetent.” 


Several critics saw promise in the Broadway newcomer, however. John McClain called Inger “extremely lisson” and wondered what she might be able to accomplish with a more realistic role. Noel Mostart was grateful that Debut “brought forward one of the prettiest girls since…well, since Marilyn Monroe gave her press conference a week or two back. The girl is Inger Stevens. She was the only reason I kept my seat until the end.” 

One reason Debut was not a success was due to uncomplimentary comparisons to the recent stage success The Ponder Heart. The Ponder Heart was praised for its imagination and humanness while Debut was deemed humorless and unoriginal. It seems that the main cause of the play’s downfall was its failure to seem authentic in its Southern setting. Critics slammed the exaggerated accents of the performers and found the play dull and completely unconvincing.

Although Debut did not propel Inger to Broadway stardom, it did provide her with invaluable experience which she applied to future theatrical performances. Though disappointed in the failure of Debut, Inger was resilient and continued to move forward with her acting career. By the end of the year, Inger would be living in Los Angeles, signed to a film contract, and preparing for her first major motion picture Man on Fire

Saturday, October 25, 2025

Empire: Duet for Eight Wheels (1963)

 


Empire was a western series that aired on NBC from 1962 to 1963 then was retailored as Redigo for the 1963 to 1964 season. The show revolved around ranchmen in New Mexico and starred Richard Egan, Charles Bronson, Ryan O'Neal, and Warren Vanders.

Inger Stevens made a guest appearance on the Duet for Eight Wheels episode that aired on April 30, 1963. (Full episode is available on Youtube. This post contains spoilers.) In the episode, Redigo (Egan), Garret (O'Neal), Moreno (Bronson), and Chuck (Vanders) are capturing wild mustangs. Jim Redigo becomes paralyzed after being trampled by one of the horses. 

Redigo's pride makes him struggle to accept his new condition. While Garret is with Redigo in the hospital, Moreno and Chuck are watching the elusive stallion. Moreno says, "Well, there's one sure thing about kings. Titled or untitled, they've got a lot of pride. And, man, that pride...it can be a throne or a trap depending how you use it."

The doctor recommends that Redigo have another wheelchair user with the same condition to advise him on daily functions.Redigo rejects help and is angry when the fellows try to help make his home more accessible. He's even angrier when he realizes his therapy coach is a paraplegic woman named Ellen Thompson (Inger Stevens).

Redigo: This is a ranch. It takes men to run it and it takes men to run the men who run it. A ranch is a contest with nature and nature is built on strength. Your Dr. Karr can't expect men to listen to a man who has to listen to a woman.

After Ellen explains that he's more likely to listen to a woman than a man in his situation, Redigo questions her.

Redigo: Is it always this sort of a contest?

Ellen: Contest? Contest with this. It's always a contest with this [wheelchair]. At first, it's like being born with a number of left hands. Everything seems numb and pointless. And then you adapt. That's the great part of being human. When you run up against something, you find a way around it and this is ours.

Redigo: Yours.

Ellen: Ours.

Redigo submits to the therapy. Ellen shows him how to do indoor tasks, drive, and swim. Redigo learns how much strength it takes to do the smallest of tasks on his own. He's frustrated, but determined.

 

Redigo insists that the stallion be shot, but his men refuse. 

[The following exchange can also be viewed in a clip on the Inger Blog Youtube channel.]

Ellen: Please don't do it.

Redigo: Has Moreno been talking to you about this?

Ellen: Yes, but only because he...

Redigo: Helping to run the ranch is one thing you don't have to worry about. 

Ellen: Only because he was concerned about you.

Redigo: And he's confused about his duties, too. I already have a nurse maid.

Ellen: Why do you want to shoot the stallion? For revenge?

Redigo: No! For something like that...wild and free...in a trap?

Ellen: Oh, you didn't think that way about the trap...

Redigo: But nobody's gonna keep me in this for the rest of my life.

Ellen: Do you think his life will be worthless that way?

Redigo: Worse! When an animal is suffering or injured, then we do away with it out of kindness. For that horse captivity would be torture.

Ellen: That's rather God-like, isn't it? To make the decision about the worth of a life other than your own? You think it would be true for that wild, free thing. You think it would be true for yourself, but you believe you will escape. Well, I've been in this thing six years, Mr. Redigo. Is that what you think of my life? Worse than worthless?

She attempts to throw herself from the wheelchair but he catches her, pulls her close, and they kiss.


The pair falls in love. After seven weeks, Redigo is approved for an experimental surgery but will not undergo the operation unless Ellen does, too. He doesn't realize that Ellen's chances of surviving the operation are slim. 

Knowing he must undergo the surgery and hoping that taking the risk will be a success for her as well, Ellen agrees to the procedure without revealing the danger. As is frequently the case for Inger's television characters, Ellen suffers a tragic fate.

Press photo for the show



Friday, October 24, 2025

The Voice of the Turtle (1962)

The Voice of the Turtle is a comedic play written by John William Van Druten set in New York City during World War II. In the play, aspiring actress Sally Middleton is new to the city, quickly dumped by a married Broadway producer, and feeling conflicted about her own sexual morality. When he is stood up by Sally's friend Olive, army sergeant Bill Page (left bitter by a past relationship) ends up spending time with Sally over the weekend. By the end of the play, Bill and Sally must face their growing attraction to each other.

The play first debuted on Broadway at the Morosco Theatre in December 1943. The first cast included Margaret Sullavan (Sally), Elliott Nugent (Bill), and Audrey Christie (Olive). In 1947, Ronald Reagan, Eleanor Parker, and Eve Arden starred in the film adaptation.

In June 1962, Inger Stevens took on the role of Sally in a production of the play at O'Hare Inn Theater in Chicago. Anthony George performed as Bill and Toni Gilman played Olive. The show opened on June 21st and closed on July 3rd.


Chicago Tribune reviewer Thomas Willis found "something lacking" in the play. He wrote:

Sally is determined to smother a stiff-necked past, though here it is Joplin, MO., which is the culprit. Her aim is to act, her fear is that letting nature take its course again will hurt. Miss Stevens, in every way qualified for the role, takes her about half way. The tension, the nail-biting anxiety, and the sweetness born of part bewilderment are all there, but not yet the gaiety which makes sense of mutability, and which the playwright made so much of, nor the underlying charm.

She is not helped much by Mr. George. His Sgt.—now oddly promoted to Lt.—Page is a very sincere young man, perfectly willing to let things take whatever course they will until the very last moment. The predatory masculinity, only for the moment under the skin, which keeps the duel of the sexes always in mind, is missing altogether. The results--a few moments of tension, several of tenderness, but little of the parry and riposte which is the stuff of the play.

Nor is she helped by Toni Gilman's Olive, blunt vulgarian instead of the case hardened veteran of cocktail parties whose prime weapon is veneer.

The summer of 1962 was a busy one for Inger. She'd been a guest on multiple Tonight Shows with Mort Sahl hosting (listen to a clip on the Inger Youtube channel) and it was highly believed she would join Johnny Carson as a regular guest when he took over that fall. Instead, The Farmer's Daughter received financial backing and Inger focused on preparing to take on the starring role in a sitcom for the following year.

Inger and Mort grew close while working together on The Tonight Show and he visited her several times while she was in Chicago for The Voice of the Turtle. Gossip columnist Herb Lyon reported that Inger had turned "totally turtle over Mort Sahl" and that they were keeping the telephone lines hot. Mort visited Inger during rehearsals, but did not attend the opening night. Mort flew in to visit Inger and dined with her at Singapore restaurant the weekend before the show closed.

While in Chicago, Inger stayed at the Ambassador East hotel and enjoyed many after-show dinners at La Bistro with costar Anthony George, with whom she'd worked on the Checkmate television series in 1960.

The Voice of the Turtle would be Inger's ninth and final performance in a professional play, but she was always open to returning to the live stage. In late 1969, Inger expressed hope that she would one day be cast in a Broadway musical.  

 

Sources:

Denton, Charles. "Television Tidbits." The Blade. July 22, 1962.

Lyon, Herb. "Tower Ticker." Chicago Tribune. June 18, 1962. 

Lyon, Herb. "Tower Ticker." Chicago Tribune. June 22, 1962.  

Lyon, Herb. "Tower Ticker." Chicago Tribune. June 27, 1962.  

Lyon, Herb. "Tower Ticker." Chicago Tribune. July 3, 1962.   

Willis, Thomas. "Something Lacking in New 'Turtle'." Chicago Tribune. June 23, 1962.  

Wednesday, October 22, 2025

Inger's Friend Robert Redford


Inger and Robert Redford in The Last of the Big Spenders

Inger Stevens considered Robert Redford (1936-2025) a true friend among the Hollywood crowd she encountered. Like Inger, Bob spent considerable time in New York City in the late 1950s and that's where they first became acquainted. He'd studied at the American Academy of Dramatic Arts from 1957 to 1959. They both were dedicated to the craft of acting, turned off by Hollywood phoniness, and drawn to the Broadway stage. Additionally, they were both artists, Bob having studied art at Pratt Institute prior to attending the Academy.

Following his graduation in 1959, Bob auditioned with the Actor's Studio but ultimately found it to be "contrived". He signed with MCA talent agency in 1959, the same year that Inger also signed with MCA to represent her in both her theater and film work.

In addition to his Broadway career, Bob performed in many television shows before becoming a major film star. Although not featured in the same episodes, Inger and Robert made the rounds in the same classic shows: Playhouse 90, Moment of Fear, Route 66, Alfred Hitchcock Presents, The Twilight Zone, Alcoa Premiere, and The Alfred Hitchcock Hour. 

Fortunately, in 1963, the two friends were able to costar in the same television production. The Last of the Big Spenders was an episode of The Dick Powell Theatre that starred Dana Andrews, Robert Redford, and Inger Stevens. In the teleplay, Dana Andrews plays Paul Oakland, an ailing writer who receives a visit from his estranged son Nick (Robert Redford). Nick has a difficult time understanding his father or his father's relationship with the younger woman Adele Hughes (Inger Stevens). A reviewer for The Sentinel wrote, "If you're in the mood for a literate play with interesting characters and absorbing dialogue, this one easily fills the bill. It's almost all talk, but in the capable hands of Dana Andrews, Robert Redford, Inger Stevens, and Herschel Bernardi, it has the quality of a live TV play." 

Here is a clip from the show that I've shared on the Inger Stevens Blog Youtube channel: 

Inger, Robert, and Dana in a LOTBS scene

You can watch the full episode (colorized) through an external Youtube channel:

Colorized LOTBS 

Several years later, Robert Redford was headed for film stardom and shooting interior scenes for Barefoot in the Park. Inger thought it would be funny to surprise him with a gag gift so she imprinted her footprints in a large cement square and decorated the square with palm trees. Inger's secretary Chris delivered the gift to Robert, who cracked up at the sight of it and Inger's ability to poke fun of revered Hollywood traditions.

Chris told biographer William Patterson that Inger was very impressed with Bob's faithfulness to his wife and that, on one occasion, Bob had driven Inger all the way to Palm Springs for dinner, but didn't make a pass. The two had a nice dinner, enjoyed good conversation, then he drove her home. Inger confided in Chris that she and Redford had never been lovers and that she looked up to him as if he were a trusted brother.

Sources:

Callan, M. F. Robert Redford: The Biography. 2014.

"The Last of the Big Spenders." The Sentinel. April 16, 1963. 

Patterson, William. Farmer's Daughter Remembered. 2000.

Tuesday, October 21, 2025

One Girl Unafraid in Filmland—Now

Inger in a publicity portrait for The New Interns

As Inger simultaneously filmed the television series The Farmer's Daughter and the film The New Interns, the film's producer remarked, "She's not only the first one on the set—she's the most professional."

Inger reflected on the change in her approach to Hollywood and how it had changed since she first entered the business in the 1950s. She said, "Hollywood doesn't frighten me anymore. I better understand the people and the business, and I no longer take either very seriously."

Although she once lamented being typecast as fragile women in television, Inger embraced the role of Nancy, a traumatized social worker in The New Interns, stating, "I guess I was signed for this because I've acquired a reputation for playing troubled characters. If I played them with any degree of conviction, it's due to the fact that I've had a problem or two during my own lifetime."

Sources:

Archerd, Armand. "One Girl Unafraid in Filmland—Now." Evening Herald. January 18, 1964.

Sunday, October 19, 2025

Birthdays for Inger

 

Inger on her 30th birthday in 1964.



A Timeline of Inger's Birthdays


1934: Inger is born on Thursday, October 18th in Stockholm, Sweden.

Inger's entry in the Swedish Birth Index

1953: Inger takes a quick trip back to Manhattan, Kansas, to visit friends on her 19th birthday before returning to New York City

1955: Inger films an episode of Crunch and Des entitled "Salt Water Daffy" in Bermuda. One week shy of her 21st birthday, she writes to a friend about her struggle to find age-appropriate parts:
When I am in the office I must be very mature and businesslike. Here I am twenty, and going to be twenty-one next week, but I have to behave like I'm twenty-eight...then I must dash home and transform myself into a sixteen-year-old (which is getting more complicated everyday) for a theatrical reading. Glamourous one minute and sans makeup, a youngster the next...I wish I could read for a part that suits me. I am not a teenager and I feel terribly uncomfortable when I have to read for teenage parts. For some reason I am not of the young leading type either. I'm what you might call in-between and it's a God-awful fix to be in.
1956: Two weeks before her 22nd birthday, Inger signs a one year contract with Paramount Pictures.

1957: Gossip columnists report that Inger receives a gift certificate for her 23rd birthday from Bing Crosby. Inger sends the certificate as a wedding gift after he eloped with Kathy Grant just six days after Inger's birthday.

1958: Two days after her 24th birthday, Inger is in New York City shooting exterior scenes on The World, The Flesh, and The Devil.

1960: Four days before her 26th birthday, Inger's episode "Pearl Flower" of Hong Kong airs on television.

1961: Inger travels to Boiling Springs, Pennsylvania to appear in the Route 66 episode Burning for Burning. Ike Jones, whom she would soon marry, sends her a telegram to mark her 27th birthday.

With friend George Maharis on the set of Route 66

1963: Inger turns 29 while shooting The New Interns in October.

1964: 30-year-old Inger is celebrated with cake on the set of The Farmer's Daughter. (Photo at top of post.)

1966: A Guide for the Married Man begins shooting six days before Inger's 32nd birthday. Five days after her birthday, Inger appears on The Andy Williams Show.

1967: Inger spends her 33rd birthday in Rome while filming House of Cards.
Inger in Rome in 1967



Sources:
Miller, John J. "Confidential Memo." San Francisco Chronicle. November 24, 1957.
Patterson, William. Farmer's Daughter Remembered. 2000.

Tuesday, July 29, 2025

Frisbee-Friendly Inger

The Southwest Regional and United States Western Sectional Frisbee Championships were held at the Conejo Recreation and Park District in Thousand Oaks, California, on Saturday, October 4, 1969. The regional competition took place in the morning and then that competition's winner faced five other competitors in the afternoon. Throughout the demonstration, the boys showed off their curves, skip flights, behind-the-back catches, and distance tosses. 

This is an Inger Stevens site and not a frisbee enthusiast blog, you say?  Well, you'll never guess who served as the guest of honor for the competition and awarded the trophy to the winner at the celebration banquet that followed. 


 

Inger even gave frisbee throwing a shot herself! A trio of lucky fellows received trophies from Inger since there was a three-way tie for first place. 

As a gregarious person full of gratitude for her fans, Inger made personal appearances at many community events. You might enjoy reading about some other events at which Inger appeared that have been featured on this blog.

Blue Ribbon 400 - 1969 

Bonanza Celebration in Reno - 1959 

Lions Bowl - 1964 

Fort Worth Publicity Tour - 1963 

Desert Circus Queen - 1967 

Guide for the Married Man Cruise - 1967 

 

Monday, July 7, 2025

Inger Stevens, Student Nurse

In preparation for her role in the Playhouse 90 production "Diary of a Nurse", Inger worked as a student nurse in a local hospital. This was not a requirement, but something Inger felt would make her portrayal more convincing. Inger said, "They wanted to hire a technical advisor to teach me enough to get by, but I needed the emotional impact that a nurse goes through every day to be convincing on the screen."

While on the job, Inger answered bells for assistance which led to her changing beds, delivering dressing trays, feeding patients, and giving baths. She spoke with the nurses and they gave her insight into how the job made them feel during their daily rounds. Inger reflected on the experience:

I had to bathe a 10-year-old girl who was due to undergo a heart operation the next day. It was heartbreaking. She didn't know what was happening. The first thing I thought about the next morning was how she was pulling through. Fortunately, she is recovering beautifully. Right now I feel very much like a nurse. I'm still thinking about my patients and their lives. 

 

In the teleplay, Inger's character is a student nurse named Gail Lucas who becomes so emotionally involved in the lives of her patients that, as one reviewer said, "life for her becomes sadder with each new admission." Inger remarked on those attachments:

The transition from actress to student nurse seemed natural and normal. I didn't have time to be frightened. As I went my rounds, I heard the problems of each patient, and I learned you can't get too involved emotionally with them. Otherwise, all nurses would break down. 

Certainly, Inger was all too familiar with the routines and relationships discoverable within a hospital by the spring of 1959. She'd spent 16 days as a patient at Columbus Hospital in New York City in January of that year. Inger had survived a suicide attempt, but faced several medical setbacks that required the lengthy stay. Although a Paramount Pictures spokesman predicted that she would vacation in a warm climate to recover, Inger had no plans to take a break. In reality, surviving the attempt seemed to recharge Inger and spur her on to an even busier acting schedule and gave her the independence and confidence to break away from the studio, be more vocal about her desires, and embody the frail yet indestructible characters she so often played with a more knowing approach.

"Diary of a Nurse" would be Inger's first job following her recovery and her hands-on preparation as a student nurse indicates just how dedicated she was to the task. Inger enjoyed the experience, saying:

No, I don't want to become a nurse now. But I realize how badly they're needed. And I do plan to do some volunteer nursing work in the future. It was very pleasant being called 'nurse.' I was proud of it.

True to her word, Inger would go on to volunteer at Kedren Community Health Center and work with children with disabilities in hospitals for the rest of her life. But she also proved herself as a dependable, quality actress by performing in poignant episodes of Bonanza, The Twilight Zone, Route 66, and 19 other shows between her role in "Diary of a Nurse" in 1959 and starring in her own sitcom The Farmer's Daughter in 1963.

The production ran 1 hour and 30 minutes and was deemed a "well-knit show" with great performances by Inger, Mary Astor, Victor Jury, Mildred Dunnock, and Suzanne Pleshette. It aired on CBS on May 7, 1959. Unfortunately, the show is not available online or on physical media. Fortunately, a copy of the episode does exist and is preserved in the Paley Archive.

 

 

Sources:

"Inger Stevens." Los Angeles Mirror. May 7, 1959. 

"Inger Stevens, Student Nurse." TV Guide. June 1959. 

"Overdosed Actress Leaves Hospital." Guam Daily News. January 22, 1959. 

Scott, Vernon. "Inger Stevens Totes Bedpans." The Duncan Banner. May 7, 1959. 

"Talking TV by Jack Miller." The Hamilton Spectator. May 9, 1959.  

"TV and Radio Program Guide." Toledo Blade. May 7, 1959.