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Pernell Roberts
Birthday:
18 May 1928, Waycross, Georgia, USA
Birth Name:
Pernell Elven Roberts Jr.
Height:
183 cm
Best recalled as the eldest son and first member of the "Bonanza" Cartwright clan to permanently leave the Ponderosa in the hopes of greener acting pastures, dark, deep-voiced and durably handsome Pernell Roberts' native roots lay in Georgia. Born Pernell Elvin Roberts, Jr. on May 18, 1928, in North Carolina and moved to Waycross as ...
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Best recalled as the eldest son and first member of the "Bonanza" Cartwright clan to permanently leave the Ponderosa in the hopes of greener acting pastures, dark, deep-voiced and durably handsome Pernell Roberts' native roots lay in Georgia. Born Pernell Elvin Roberts, Jr. on May 18, 1928, in North Carolina and moved to Waycross as an infant, he was singing in local USO shows while still in high school (where he appeared in plays and played the horn). He attended both Georgia Tech and the University of Maryland but flunked out of both colleges, with a two-year stint as a Marine stuck somewhere in between. He eventually decided to give acting a chance and supported himself as a butcher, forest ranger, and railroad riveter during the lean years while pursuing his craft.On stage from the early 1950s, he gained experience in such productions as "The Adding Machine," "The Firebrand" and "Faith of Our Fathers" before spending a couple of years performing the classics with the renowned Arena Stage Company in Washington, DC. Productions there included "The Taming of the Shrew" (as Petruchio), "The Playboy of the Western Word," "The Glass Menagerie," "The Importance of Being Earnest," and "Twelfth Night." He made his Broadway debut in 1955 with "Tonight in Samarkind" and that same year won the "Best Actor" Drama Desk Award for his off-Broadway performance as "Macbeth," which was immediately followed by "Romeo and Juliet" as Mercutio. Other Broadway plays include "The Lovers" (1956) with Joanne Woodward, "A Clearing in the Woods" (1957) with Kim Stanley, a return to Shakespeare's "The Taming of the Shrew" (1957) and "The Duchess of Malfi" (1957). He returned to Broadway fifteen years later as the title role opposite Ingrid Bergman in "Captain Brassbound's Conversion" (1972).Pernell then headed for Hollywood and found minor roles in films before landing the pivotal role of Ben Cartwright's oldest and best-educated son Adam in the Bonanza (1959) series in 1959. The series made Roberts a bona fide TV star, while the program itself became the second longest-running TV western (after "Gunsmoke") and first to be filmed in color. At the peak of his and the TV show's popularity, Pernell, displeased with the writing and direction of the show, suddenly elected not to renew his contract and left at the end of the 1964-1965 season to the utter dismay of his fans. The show continued successfully without him, but a gap was always felt in the Cartwright family by this abrupt departure. The story line continued to leave open the possibility of a return if desired, but Pernell never did.With his newfound freedom, Roberts focused on singing and the musical stage. One solo album was filled with folks songs entitled "Come All Ye Fair and Tender Ladies." Besides such standard roles in "Camelot" and "The King and I," he starred as Rhett Butler to Lesley Ann Warren's Scarlett O'Hara in a musical version of "Gone with the Wind" that did not fare well, and appeared in another misguided musical production based on the life of "Mata Hari." During this period he became an avid civil rights activist and joined other stalwarts such as Dick Gregory, Joan Baez and Harry Belafonte who took part in civil rights demonstrations during the 60s, including the Selma March.The following years were rocky. He never found a solid footing in films with roles in rugged, foreign films such as Tibetana (1970) [The Kashmiri Run], Four Rode Out (1970), making little impression. He maintained a viable presence in TV, however, with parts in large-scale mini-series and guest shots on TV helping to keep some momentum. In 1979 he finally won another long-running series role (and an Emmy nomination) as Trapper John, M.D. (1979) in which he recreated the Wayne Rogers TV M*A*S*H (1972) role. Pernell was now heavier, bearded and pretty close to bald at this juncture (he was already wearing a toupee during his early "Bonanza" years), but still quite virile and attractive. The medical drama co-starring Gregory Harrison ran seven seasons.The natural-born Georgia rebel was a heavily principled man and spent a life-time of work fighting racism, segregation, and sexism, notably on TV. He was constantly at odds with the "Bonanza" series writers of his concerns regarding equality. He also kept his private life private. Married and divorced three times, he had one son, Jonathan Christopher, by first wife Vera. Jonathan was killed in a motorcycle crash in 1989. In the 1990s, Pernell starred in his last series as host of FBI: The Untold Stories (1991). It had a short life-span.Retiring in the late 1990s, Roberts was diagnosed with cancer in 2007 and died about two years later at age 81 on January 24, 2010, survived by fourth wife Eleanor Criswell. As such, the rugged actor, who never regretted leaving the "Bonanza" series, managed to outlive the entire Cartwright clan (Dan Blocker died in 1972; Lorne Greene in 1987); and Michael Landon in 1991). Show less «
I was teaching a Sunday school class at one of the churches in Waycross, Georgia, where I grew up. And the lesson dealt with equality and al...Show more »
I was teaching a Sunday school class at one of the churches in Waycross, Georgia, where I grew up. And the lesson dealt with equality and all of us being one under the eyes of God. All of a sudden it hit me!! This isn't true! The church was - is- the most segregated place one day a week there is in our country. And it's so ironical and so tragic that here's a philosophy which preaches and teaches human understanding and brotherly love and practices, in essence, the most vicious form of human relationship there is. Show less «
I had six seasons of playing the eldest son on that show. Six seasons of feeling like a damned idiot, going around -- me, like a middle-aged...Show more »
I had six seasons of playing the eldest son on that show. Six seasons of feeling like a damned idiot, going around -- me, like a middle-aged teenager, saying, 'Yes, Pa,' 'No, Pa' on cue. It was downright disgusting -- such dialogue for a grown man. I felt I wasn't being taken seriously as an actor, and that's like death to one's talent...Stuck as Adam Cartwright, I was only able to use about one-tenth of my ability. -- PR on why he left Bonanza (1959) Show less «
I'm never satisfied with my own work.
I'm never satisfied with my own work.
There are times when I think we almost manage to transcend our constant lack of good scripts, proper rehearsal and all the other things that...Show more »
There are times when I think we almost manage to transcend our constant lack of good scripts, proper rehearsal and all the other things that bug a man in this business.... Everything on TV is that monster, compromise.... Let's face it, Bonanza could be really good if the powers-that-be cared enough to make it that way. Show less «
They told me the four characters [Lorne Greene, myself and Dan Blocker and Michael Landon as brothers] would be carefully defined and the sc...Show more »
They told me the four characters [Lorne Greene, myself and Dan Blocker and Michael Landon as brothers] would be carefully defined and the scripts carefully prepared. None of it ever happened. - (In 1964 about the limitations he felt about his character given on-screen for Bonanza (1959).) Show less «
Isn't it just a bit silly for three adult males to get father's permission for everything they do? I haven't grown at all since the series b...Show more »
Isn't it just a bit silly for three adult males to get father's permission for everything they do? I haven't grown at all since the series began four years ago. I have an impotent role. Everywhere I turn, there's the father image. - In 1963 when Bonanza (1959) was too remote from reality. Show less «
In 1979: I've never been career oriented. Did I even want to be a star? What's a star? Is that something in the heavens? That's the only def...Show more »
In 1979: I've never been career oriented. Did I even want to be a star? What's a star? Is that something in the heavens? That's the only definition that comes to my mind. And the most important goals in my life have been to move gently to be at ease with the mystery of what it's all about. Show less «
As we get older, we become more political in terms of survival. We realize a certain amount of cunning is necessary and that you just end up...Show more »
As we get older, we become more political in terms of survival. We realize a certain amount of cunning is necessary and that you just end up in a victim when you are totally honest in an environment where those around you aren't. It's a matter of remaining true to yourself while continuing to move forward. It's also a matter of learning to keep control of one's balance. Show less «
When questioned if he was sorry for leaving his role on Bonanza (1959): God no! I'm just sorry I wasn't able to get out of my contract and l...Show more »
When questioned if he was sorry for leaving his role on Bonanza (1959): God no! I'm just sorry I wasn't able to get out of my contract and leave sooner. So the other made millions. How much does one person need to live? I've never needed or wanted that much. Show less «
Of what led him to do Trapper John, M.D. (1979), when he sounded subdued, almost resigned: I'm getting old. I just turned 51. I need to make...Show more »
Of what led him to do Trapper John, M.D. (1979), when he sounded subdued, almost resigned: I'm getting old. I just turned 51. I need to make a live. I hope that I can be totally responsible for my life till I die. Perhaps I won't have to worry in my later years. Show less «
Who never quite stomach it, who in turn never hid his feelings: There are times when I think we almost manage to transcend our constant lack...Show more »
Who never quite stomach it, who in turn never hid his feelings: There are times when I think we almost manage to transcend our constant lack of good scripts, proper rehearsal and all the other things that bug a man in this business ... Everything on TV is that monster, compromise ... Let's face it, Bonanza (1959) could be really good if the powers-that-be care enough to make it that way. Show less «
Why do a series? It's called paying the rent. It's called paying your dues. But so much depends on timing. Mine was a bit off when I quit Bo...Show more »
Why do a series? It's called paying the rent. It's called paying your dues. But so much depends on timing. Mine was a bit off when I quit Bonanza (1959). Show less «
In 1980: I've seen it all before. A hundred times before. Actors on their way up. Actors coasting. It was the same 20 years ago as today.
In 1980: I've seen it all before. A hundred times before. Actors on their way up. Actors coasting. It was the same 20 years ago as today.
Who recounted casting for the lead role of Trapper John, M.D. (1979): The beginning of this year, I got a call to come in and talk about the...Show more »
Who recounted casting for the lead role of Trapper John, M.D. (1979): The beginning of this year, I got a call to come in and talk about the show. 3 weeks later, I was called back to do a screen test. And then, I waited again, until I finally got the word about a week before we shot the pilot that the network had approved me for the part. Show less «
Who proclaimed about leaving his role on Bonanza (1959), after he appeared in the show's 177 of the 430 episodes: I feel I am an aristocrat ...Show more »
Who proclaimed about leaving his role on Bonanza (1959), after he appeared in the show's 177 of the 430 episodes: I feel I am an aristocrat in my field of endeavor. My being part of Bonanza (1959) was like Isaac Stern sitting in with Lawrence Welk. Show less «
Who played the same character that Wayne Rogers had created, when he was on M*A*S*H (1972), except Roberts played his mellower than Rogers: ...Show more »
Who played the same character that Wayne Rogers had created, when he was on M*A*S*H (1972), except Roberts played his mellower than Rogers: I really don't know what the thrust of the series is. Sometimes it's drama, sometimes farce. I have absolutely no input. The actor is the last person the producers want to hear from. Show less «
On playing the same character that Wayne Rogers would've been famous for after M*A*S*H (1972), when he left in 1975: Time is moving along. I...Show more »
On playing the same character that Wayne Rogers would've been famous for after M*A*S*H (1972), when he left in 1975: Time is moving along. I'm 51 and I say, 'Well, maybe I better hedge my bet a little and get into something more lucrative so I won't have to find food in the garbage vehicles of America, when I'm old.' Show less «
I distinguished myself by flunking out of college three times.
I distinguished myself by flunking out of college three times.
I just didn't enjoy Bonanza (1959) anymore. My contract was up and I left. It became joyless and boring and predictable and I had to get awa...Show more »
I just didn't enjoy Bonanza (1959) anymore. My contract was up and I left. It became joyless and boring and predictable and I had to get away. But I never said those things people said I said. Show less «