Trivia: Left fatherless at the age of four, American actress Lucille Ball developed a strong work ethic in childhood; among her more unusual jobs was as a "seeing eye kid" for a blind soap peddler. Ball's mother sent the girl to the Chautauqua Institution for piano lessons, but she was determined to pursue an acting career after watching the positive audience reaction given to vaudeville monologist Julius Tannen. Young Ball performed in amateur plays for the Elks club and at her high school, at one point starring, staging, and publicizing a production of Charley's Aunt. In 1926, Ball enrolled in the John Murray Anderson American Academy of Dramatic Art in Manhattan (where Bette Davis was the star pupil), but was discouraged by her teachers to continue due to her shyness. Her reticence notwithstanding, Ball kept trying until she got chorus-girl work and modeling jobs; but even then she received little encouragement from her peers, and the combination of a serious auto accident and recurring stomach ailments seemed to bode ill for her theatrical future. Still, Ball was no quitter, and, in 1933, she managed to become one of the singing/dancing Goldwyn Girls for movie producer Samuel Goldwyn; her first picture was Eddie Cantor's Roman Scandals (1933). Working her way up from bit roles at both Columbia Pictures (where one of her assignments was in a Three Stooges short) and RKO Radio, Ball finally attained featured billing in 1935, and stardom in 1938 -- albeit mostly in B-movies. Throughout the late 1930s and '40s, Ball's movie career moved steadily, if not spectacularly; even when she got a good role like the nasty-tempered nightclub star in The Big Street (1942), it was usually because the "bigger" RKO contract actresses had turned it down. By the time she finished a contract at MGM (she was dubbed "Technicolor Tessie" at the studio because of her photogenic red hair and bright smile) and returned to Columbia in 1947, she was considered washed up. Ball's home life was none too secure, either. She'd married Cuban bandleader Desi Arnaz in 1940, but, despite an obvious strong affection for one another, they had separated and considered divorce numerous times during the war years. Hoping to keep her household together, Ball sought out professional work in which she could work with her husband. Offered her own TV series in 1950, she refused unless Arnaz would co-star. Television was a godsend for the couple; and Arnaz discovered he had a natural executive ability, and was soon calling all the shots for what would become I Love Lucy. From 1951 through 1957, it was the most popular sitcom on television, and Ball, after years of career stops and starts, was firmly established as a megastar in her role of zany, disaster-prone Lucy Ricardo. When her much-publicized baby was born in January 1953, the story received more press coverage than President Eisenhower's inauguration. With their new Hollywood prestige, Ball and Arnaz were able to set up the powerful Desilu Studios production complex, ultimately purchasing the facilities of RKO, where both performers had once been contract players. But professional pressures and personal problems began eroding the marriage, and Ball and Arnaz divorced in 1960, although both continued to operate Desilu. Ball gave Broadway a try in the 1960 musical Wildcat, which was successful but no hit, and, in 1962, returned to TV to solo as Lucy Carmichael on The Lucy Show. She'd already bought out Arnaz's interest in Desilu, and, before selling the studio to Gulf and Western in 1969, Ball had become a powerful executive in her own right, determinedly guiding the destinies of such fondly remembered TV series as Star Trek and Mission: Impossible. The Lucy Show ended in the spring of 1968, but Ball was back that fall with Here's Lucy, in which she played "odd job" specialist Lucy Carter and co-starred with her real-life children, Desi Jr. and Lucie. Here's Lucy lasted until 1974, at which time her career took some odd directions. She poured a lot of her own money in a film version of the Broadway musical Mame (1974), which can charitably be labeled an embarrassment. Her later attempts to resume TV production, and her benighted TV comeback in the 1986 sitcom Life With Lucy, were unsuccessful, although Ball, herself, continued to be lionized as the First Lady of Television, accumulating numerous awards and honorariums. Despite her many latter-day attempts to change her image -- in addition to her blunt, commandeering off-stage personality -- Ball would forever remain the wacky "Lucy" that Americans had loved intensely in the '50s. She died in 1989.

Trivia: Having caught the theatrical bug early in life, Charles Nelson Reilly studied for his craft at the Herbert Berghof-Uta Hagen studio. While scrounging for acting jobs in the 1950s, Reilly supported himself as an usher, mail clerk and hospital orderly. In 1960 he was cast in a minor role in the Broadway musical Bye Bye Birdie, understudying stars Dick Van Dyke and Paul Lynde. The following year, he played nasty "corporate nephew" Bud Frump in the Pulitzer Prize-winning musical How to Succeed in Business Without Really Trying, a characterization that won him a Tony Award. In 1964, he received the New York Critic's Circle award for his work as juvenile lead Cornelius Hackel in Hello, Dolly. During this period, Reilly showed up in such Manhattan-based TV programs as The Steve Lawrence Show, and also performed a cabaret act with his friend Eileen Brennan. In 1968, he was cast as Cleymore Gregg in the network sitcom The Ghost and Mrs. Muir, a role that typed him ever after in fussy, snippy, sarcastic roles. He went on to appear in the comedy ensemble of the 1970s variety series Dean Martin Presents the Golddiggers; he starred in the Saturday morning kiddie shows Lidsville (1971-74) and Uncle Croc's Block (1975-76); and, along with Richard Dawson and Brett Sommers, he served as a semi-permanent panelist on the long-running quiz show The Match Game and as a staple on the game show The Hollywood Squares, where his flamboyant personality (he typically appeared wearing oversized glasses and a colorful ascot) became an audience favorite. Game shows, however, reportedly downgraded Reilly in the eyes of producers, and made it next to impossible for him to find a healthy amount of work. During the '80s and '90s, Reilly became active in the field of cartoon voiceovers, performing in such animated feature films as All Dogs Go To Heaven (1989), Rock-a-Doodle (1992) and The Troll in Central Park (1993), and in TV cartoons like Smurfs and Spacecats; he also appeared on The Tonight Show with Johnny Carson a record 95 times. On the theatrical scene, Reilly directed the one-person plays Belle of Amherst and Paul Robeson, and staged several operas throughout the U.S. Charles Nelson Reilly was the founder of The Faculty, a Los Angeles-based drama school.In the mid-2000s, Reilly headlined a one-man performance film, The Life of Reilly (2000). As co-directed by Barry Poltermann and Frank Anderson, the picture found the actor-comic sitting before an audience and expostulating at length on his long career in showbusiness, his open homosexuality, and - occasionally - how the two intersected in the early years by making it difficult for him to find work. The picture opened to critical raves but received extremely limited distribution in the U.S. Tragically, it marked Reilly's last major effort, and not one year later, the actor died from complications of pneumonia. He was 76.

Trivia: From vaudeville and stock companies, actor Jerome Cowan graduated to Broadway in the now-forgotten farce We've Gotta Have Money. While starring in the 1935 Broadway hit Boy Meets Girl, Cowan was spotted by movie producer Sam Goldwyn, who cast Cowan as a sensitive Irish rebel in 1936's Beloved Enemy. Most of Cowan's subsequent films found him playing glib lawyers, shifty business executives and jilted suitors. A longtime resident at Warner Bros., the pencil-mustached Cowan appeared in several substantial character parts from 1940 through 1949, notably the doomed private eye Miles Archer in The Maltese Falcon. Warners gave Cowan the opportunity to be a romantic leading man in two "B" films, Crime By Night (42) and Find the Blackmailer (43). As the years rolled on, Cowan's air of slightly unscrupulous urbanity gave way to respectability, and in this vein he was ideally suited for the role of Dagwood Bumstead's new boss Mr. Radcliffe in several installments of Columbia's Blondie series; he also scored in such flustered roles as the hapless district attorney in Miracle on 34th Street. Cowan briefly left Hollywood in 1950 to pursue more worthwhile roles on stage and TV; he starred in the Broadway play My Three Angels and was top-billed on the 1951 TV series Not for Publication. In his fifties and sixties, Cowan continued essaying roles calling for easily deflated dignity (e.g. The Three Stooges' Have Rocket Will Travel [59] and Jerry Lewis' Visit to a Small Planet [60]) and made regular supporting appearances on several TV series, among them Valiant Lady, The Tab Hunter Show, Many Happy Returns and Tycoon.

Trivia: Actress Carole Cook showed a knack for comic timing from early on, so much so that the legendary Lucille Ball took her on as a protégé. Cook would make many appearances on Ball's TV shows, The Lucy Show and Here's Lucy, as well as other shows like Magnum, P.I., Dynasty, and Grey's Anatomy. She would also appear in several movies, like Sixteen Candles and The Incredibles, while maintaining an active stage career and supporting many AIDS charities.

Trivia: American actress Kathleen Hughes was recruited right out of UCLA to be a contract actress at 20th Century-Fox. After several years of thankless bits, Kathleen signed at Universal, where she flourished in supporting parts as seductresses and mystery women. The actress was right in her element in The Glass Web (1953), in which she is murdered by jealous TV writer Edward G. Robinson, who then fashions a script based on the crime! Kathleen Hughes retired upon her marriage to producer Stanley Rubin, making a brief comeback in 1967's The President's Analyst.