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Constance Towers
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Constance Towers
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Constance Mary Towers (born May 20, 1933)[2] is an American film, stage, and television actress. She gained prominence for her appearances in several mainstream 1950s films before transitioning to theater, starring in numerous Broadway productions through the 1970s. Her accolades include two Emmy Award nominations.

Key Information

Beginning in 1965, Towers embarked on a career in theater, making her Broadway debut in the musical Anya, opposite Lillian Gish, followed by a 1966 production of Show Boat at Lincoln Center. Towers starred in four other Broadway productions throughout the 1970s, most notably as Anna in The King and I in 1977 and 1978. Her later career largely has been based in television, with roles as matriarch Clarissa McCandless on the daytime drama Capitol from 1982 to 1987, and the villainous Helena Cassadine on General Hospital, which she began portraying in 1997.

Early life

[edit]

Towers was born May 20, 1933[3] in Whitefish, Montana, one of two daughters born to Ardath L. (née Reynolds) and Harry J. Towers, a pharmacist.[4] Her mother, originally from Nebraska, was of Irish descent, while her father was an Ireland native from Dublin, who immigrated to the United States through Philadelphia.[4] Towers' family relocated throughout western Montana in her early childhood, living in Whitefish, Missoula, and Kalispell, as well as in Moscow, Idaho.[4][5]

In 1940, when Towers was in first grade, she was discovered by talent scouts visiting Montana in search of child actors for radio programs.[6] Towers's family subsequently relocated to Seattle, Washington,[5] and she began working as a child radio actress on Pacific Northwest programs over the following three years.[6] According to her official website, Towers was offered a contract with Paramount Pictures at age 11, but the offer was declined by her parents. At age 12, she worked at a small local movie theater in her hometown of Whitefish.

In her adolescence, her family relocated to New York City after her father took a job there as an executive vice president for a pharmaceutical company.[4][6] There she attended the Juilliard School, studying music,[3] and American Academy of Dramatic Arts.[7] She studied singing with well known voice teacher Beverley Peck Johnson.[8]

Career

[edit]

1955–1964: Early film work

[edit]
Towers in The Horse Soldiers (1959)

While attending Juilliard, Towers was discovered by a film agent.[4] "I was very lucky," Towers recalled. "An agent saw me and believed in me and we were walking down Fifth Avenue and the manager of the St. Regis Hotel asked if I could sing. My agent told him yes and he asked if I could open in three weeks. I learned a series of songs, put on a dress, sang to the critics, and got good reviews. That night a casting man from Columbia Pictures saw me and flew me to L.A. to meet with Harry Cohn, president of Columbia. They had me read with Jack Lemmon, then signed me to a contract."[4]

Towers made her film debut in a supporting part in the film Bring Your Smile Along (1955),[9] followed by a supporting part in the crime thriller Over-Exposed (1956). Standing at 5 feet 9 inches (1.75 m), Towers initially struggled to obtain leading film roles due to her height.[1] In 1958, she was cast in her first leading role as Hannah Hunter in John Ford's Civil War film The Horse Soldiers (1959) opposite John Wayne and William Holden.[6] The following year, she appeared in Ford's follow-up film Sergeant Rutledge (1960), a racially themed crime Western.[10]

Towers in Shock Corridor (1963)

In 1963, Towers was cast in a supporting role in Samuel Fuller's thriller Shock Corridor (1963), which tells the story of a journalist who commits himself to a psychiatric hospital to solve a murder. Her role as a stripper in the film was described by The New York Times as "hard, driving, and realistic."[11] In preparation for the role, Towers spent time at exotic dance clubs in Los Angeles.

Fuller cast Towers in a lead role in his next film The Naked Kiss (1964), another lurid and hard-edged thriller, in which she plays a crazed prostitute who attempts to assimilate in suburbia after having battered her pimp.[12] Eugene Archer of The New York Times commented: "Patently absurd as the plot may be, Mr. Fuller has filmed it with flair, and he has drawn a richly amusing performance from Miss Towers. Between his stylish handling of sensational nonsense and Mr. Marton's turgid floundering around a serious theme, Mr. Fuller's wild little movie has a decided edge."[13]

The same year, Towers appeared in the thriller Fate Is the Hunter, which chronicles the investigation of an airline crash. She also worked as a model for the Heart Fund Benefit at a fashion show held in Reno, Nevada. Between 1961 and 1965, she had five guest roles on the series Perry Mason; in her first two appearances, Jonny Baker in "The Case of the Missing Melody" (1961) and Esther Metcalfe in "The Case of the Prankish Professor" (1963).

1965–1990: Theater career

[edit]
Towers in a Broadway production of The King and I, 1977

After several film, television, and stage roles (including a West Coast tour of Guys and Dolls), Towers made her Broadway debut playing the title role in Anya, a short-lived 1965 musical.[14]

Towers appeared as Julie in a 1966 production of Show Boat at Lincoln Center.[15] She also starred in Carousel in 1966 and The Sound of Music in 1967, which she would reprise in 1970, 1971 and 1980 at the Jones Beach Theater in Long Island, New York.[16]

She briefly played Anna Leonowens in 1968, and later she played opposite Yul Brynner in a long-running revival of The King and I on tour and then on Broadway (1976–1978).[17] Clive Barnes praised Towers in the role,[18] and theatre writer John Kenrick calls her performance on the 1977 cast album "great."[19]

In 1995, she played the role of Phyllis in Stephen Sondheim's Follies.[20]

From the mid-1960s until the 1990s, Towers' career was primarily focused on theater, though she did appear in films occasionally. She starred in the 1974 television film Once in Her Life, which earned her an Emmy Award nomination for Best Actress in a Special Program. She also appeared on television, playing Marian Hiller, the wife of Dr. Sanford Hiller in Love is a Many Splendored Thing (1971–72).

She had a starring role as noble widow Clarissa McCandless in Capitol (1982–87, the show's entire run), playing rival to the scheming matriarch Myrna Clegg (Carolyn Jones, Marla Adams, Marj Dusay) in trying to see her son succeed in politics and the long-term love of powerful Senator Mark Denning (Ed Nelson). A memorable storyline had her being shot by Mark's mentally ill wife Paula (Julie Adams) and later finding out that her husband Baxter (Ron Harper) was still alive. For this part, she received a Soap Opera Digest Nomination for Best Supporting Actress.

1991–present: Television, General Hospital

[edit]
Towers during a visit to the set of the television show General Hospital as part of Los Angeles Navy Week 2011

Towers had a supporting part in the film The Next Karate Kid (1994) and appeared on television as John Abbott's former secretary, Audrey North, on The Young and the Restless (1996). She later played Madame Julianna Deschanel on Sunset Beach (1997). In 1998, Towers had supporting parts in the horror film The Relic (1997), and the thriller A Perfect Murder (1998), playing the mother of Gwyneth Paltrow's character.

Towers' best-known soap part is as villainous Helena Cassadine on General Hospital. She began playing Helena in late 1997, until the character's death in 2015; Towers made additional onscreen guest appearances in 2016, 2017, 2019 and most recently February 2020.[7] In October 2020, Towers briefly reprised the role of Helena in an offscreen cameo; Helena was heard via a phone call.[21]

Towers guest-starred in the Star Trek: Deep Space Nine episode "The Forsaken" in 1993. She also appeared in Designing Women, Frasier, Baywatch, and The Fresh Prince of Bel-Air. Other television roles include State Trooper, Hawaii Five-O, The Rockford Files, L.A. Law, The 4400, and Cold Case.[22]

In 2008, Towers starred in the Los Angeles revival of Arthur Allan Seidelman's production of Six Dance Lessons in Six Weeks;[23] the play premiered at the Geffen Playhouse in 2001 with Uta Hagen and David Hyde Pierce in the two roles.[24]

Personal life

[edit]

Towers was first married to Eugene McGrath from 1959 until their divorce in 1966. In 1974, she married actor and future ambassador to Mexico John Gavin.[25] She has two children from her first marriage. She also has two stepchildren from her marriage to Gavin.[26] Gavin died on February 9, 2018, aged 86.[27]

Towers serves as chairwoman of the board of directors of the Blue Ribbon of the Los Angeles Music Center.[28]

Filmography

[edit]

Film

[edit]
Year Title Role Director Notes Ref.
1955 Bring Your Smile Along Nancy Willows Blake Edwards
1956 Over-Exposed Shirley Thomas Lewis Seiler
1959 The Horse Soldiers Miss Hannah Hunter of Greenbriar John Ford
1960 Sergeant Rutledge Mary Beecher John Ford
1963 Shock Corridor Cathy Samuel Fuller
1964 Fate Is the Hunter Peg Burke Ralph Nelson
1964 The Naked Kiss Kelly Samuel Fuller
1974 Once in Her Life Joan Baldwin Peter Levin Television film
Nominated – Emmy Award for Best Actress in a Special Program 		[29]
1985 Fast Forward Jessie Granger Sidney Poitier
1985 Sylvester Muffy Tim Hunter
1991 Memories of Midnight Sister Larissa Gary Nelson Television film
1992 The Nutt House Mrs. Henderson Adam Rifkin
1992 The Sands of Time Sister Larissa Gary Nelson Television film
1994 The Next Karate Kid Louisa Pierce Christopher Cain
1995 Thunder in Paradise 3 Cavanna Douglas Schwartz
1997 The Relic Mrs. Blaisedale Peter Hyams
1998 A Perfect Murder Sandra Bradford Andrew Davis
2008 The Awakening of Spring Mrs. Gable Arthur Allan Seidelman
2013 A Fuller Life Herself Samantha Fuller Documentary
2015 Aghápe Mature Leean Radick Cembrzynski Short film
2018 The Storyteller Rosemary Joe Crump

Television

[edit]
Year Title Role Notes
1952 Tales of Tomorrow Martha Episode: "Seeing-Eye Surgeon"
1957 State Trooper Doris Woodley Episode: "Beef ala Murder"
1958 Mike Hammer Jean Barr Episode: "Overdose of Lead"
1957–1958 The Bob Cummings Show Patricia Plumber Episodes: "Bob Gives Psychology Lessons" and "Bob's Forgotten Fiancée"
1960 Adventures in Paradise Laura Knight Episode: "Sink or Swim"
1961 Zane Grey Theater Beth Woodfield Episode: "Knight of the Sun"
1964 The Outer Limits Laura James Episode: "The Duplicate Man"
1965 Bob Hope Presents the Chrysler Theatre Louise Menke Episode: "Exit from a Plane in Flight"
1961–1965 Perry Mason Various roles 5 episodes
1971–1972 Love Is a Many Splendored Thing Marian Hiller Series regular
1975 Hawaii Five-O Mrs. Thorncrest Episode: "Death's Name Is Sam"
1977 Lanigan's Rabbi Vinnie Barcas Episode: "In Hot Weather, the Crime Rate Soars"
1979 The Rockford Files IRS Agent Sally Sternhagen Episode: "The Big Cheese"
1979 Fantasy Island Shirley Forbush Episode: "Hit Man/The Swimmer"
1981 Fantasy Island Maggie Dunphy Episode: "Perfect Husband, The/Volcano"
1982–1987 Capitol Clarissa McCandless Series regular
1986 On Wings of Eagles Margot Perot Miniseries
1987 Murder, She Wrote Margaret Witworth Episode: "Murder, She Spoke"
1988 The Loner Kate Shane Pilot
1987–1988 L.A. Law Charlotte Kelsey Episodes: "Rohner vs. Gradinger" and "Full Marital Jacket"
1989 MacGyver Francine Leyland Episode: "Ma Dalton"
1989 Midnight Caller Teresa Chandler Episode: "Blood Red"
1990 Designing Women Louise Pollard Episode: "The Mistress"
1991 Matlock Alice Windemere Episode: "The Suspect"
1992 Baywatch Maggie James Episode: "Sea of Flames"
1992 2000 Malibu Road Camilla O'Keefe Series regular, 6 episodes
1992 Civil Wars Harriet Guilford Episode: "Das Boat House"
1993 Star Trek: Deep Space Nine Taxco Episode: "The Forsaken"
1994 Frasier Clarice Warner Episode: "Slow Tango in South Seattle"
1994 Thunder in Paradise Cavanna Episodes: "Deadly Lessons: Part 1" and "Deadly Lessons: Part 2"
1994 Silk Stalkings Karen Krane Episode: "Ask the Dust"
1995 Caroline in the City Barbara Episode: "Caroline and the Folks"
1995 High Society Boatie Episode: "Tomb with a View"
1996 The Young and the Restless Audrey North Recurring role
1997 Sunset Beach Madame Julianna Deschanel Recurring role, 9 episodes
1997–2007, 2009–2017,
2019–2020, 2022 		General Hospital Helena Cassadine Series regular (1997–2002), Recurring guest star (2003–2022)
Nominated: Daytime Emmy Award for America's Favorite Villain (2002)
1998 Kelly Kelly Kate Episode: "The Kilt Show"
2000 Providence Candice Whitman Episode: "Syd in Wonderland"
2006 Criminal Minds Deb Mason Episode: "Riding the Lightning"
2007 The 4400 Audrey Parker Episode: "Audrey Parker's Come and Gone"
2009 Cold Case Caroline Kemp Episode: "Libertyville"
2013 1600 Penn Bunny Thoroughgood Episode: "So You Don't Want to Dance"
2014 Men at Work Mary Episode: "Suburban Gibbs"
2016 11.22.63 Old Sadie Dunhill Episode: "The Day in Question"
2022 9-1-1: Lone Star Helen Strand Episode: "Shift-Less"

Stage credits

[edit]
Year Title Role Notes Ref.
1960–1961 Guys and Dolls Sarah Brown Civic Light Opera Company, Los Angeles, California [30]
1962 Kismet Lalume U.S. touring production
1964 Camelot Guenevere U.S. touring production [16]
1964 Kiss Me Kate Lilli/Kate U.S. touring production
1965 110 in the Shade Lizzie Kansas City Starlight Production [31]
1965 Anya Anya Ziegfeld Theatre, New York City [30]
1966 Show Boat Julie New York State Theatre, New York City [32]
1966 Carousel Julie Jordan City Center Theater, New York City [33]
1967–1968 The Sound of Music Maria Rainer City Center Theater, New York City [34]
1967 Dumas and Son Marie Los Angeles Civic Light Opera [16]
1968 The King and I Anna Leonowens City Center Theatre, New York City [16]
1969 Cactus Flower Stephanie Pocono Playhouse, Mountainhome, PA [16]
1970 The Sound Of Music Maria Jones Beach Theater, Long Island [16]
1970 The Engagement Baby Vivian Whitney Helen Hayes Theatre, New York City [30]
1971 Ari Kitty Fremont Mark Hellinger Theatre, New York City [30]
1972 The King and I Anna Leonowens Jones Beach Theater, Long Island [16]
1972 I Do! I Do! Agnes Chateau de Ville, John Raitt Saugus, Massachusetts [16]
1973 I Do! I Do! Agnes Meadowbrook Dinner Theatre Van Johnson, Cedar Grove, New Jersey [16]
1973 The Sound of Music Maria Rainer Pittsburg CLO, Heinz Hall, Pittsburgh, PA [34]
1973 The King and I Anna Leonowens State Fair Music Hall, Dallas, Texas [16]
1973 My Fair Lady Eliza Doolittle Indianapolis [16]
1973 Mame Mame Springfield, Missouri [16]
1973 The Desperate Hours Eleanor Hilliard Arlington Park, Illinois [16]
1974 Oh Coward! Westport Country Playhouse, Westport, Connecticut [16]
1974 Oklahoma Laurie Kansas City Starlight Production [31]
1974 I Do! I Do! Agnes Various with Theodore Bikel, Summer, National Tour [16]
1975 Rogers and Hart! Westwood Playhouse, Los Angeles [16]
1976–1979 The King and I Anna Leonowens Uris Theatre,1976 Summer National Tour 07/26/1976 -10/03/1976. 05/02/1977 -12/30/78 New York City, 01/02/1979 -4/22/79 Chicago and Los Angeles [30]
1980 The Sound of Music Maria Rainer Jones Beach Theater, Long Island [35]
1987 42nd Street Dorothy Brock
Heritage Forum, Anaheim 		[30]
1989 Steel Magnolias M'Lynn
Royal George, Chicago 		[30]
1991 The Speed of Darkness — Associate producer
Belasco Theatre, New York City 		[30]
1995 Follies Phyllis Stone Theatre Under the Stars, Houston, Texas
5th Avenue Theatre, Seattle, Washington 		[16]
1998 Something Wonderful McCallum Theatre, Palm Desert, California [16]
2008 Six Dance Lessons in Six Weeks Lilly Harrison Falcon Theatre, Los Angeles [16]

References

[edit]

Sources

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Constance Towers

View on Grokipedia
from Grokipedia
Constance Mary Towers (born May 20, 1933) is an American actress renowned for her versatile career spanning film, stage, and television over seven decades. A native of , she began performing as a child singer on radio before her family relocated to New York, where she received formal training at the of Music and the American Academy of Dramatic Arts. Discovered by director , Towers made her film debut in the Western The Horse Soldiers (1959) opposite and , followed by roles in Ford's Sergeant Rutledge (1960). She gained further acclaim in two experimental films directed by : Shock Corridor (1963), where she portrayed a stripper aiding her journalist lover's undercover investigation in a mental , and The Naked Kiss (1964), as a former prostitute confronting small-town hypocrisy. Towers transitioned successfully to stage work, appearing in Broadway productions such as a revival of (as Anna in 1977) and earning critical notice for her dramatic portrayals. On television, she became a icon, most notably as the scheming matriarch on from 1997 to 2023, a role that earned her a 2002 Daytime Emmy Award nomination for America's Favorite Villain. Her other TV credits include recurring appearances on Capitol in the 1980s and guest spots on series like . In 1994, she appeared in the martial arts film alongside and . In her personal life, Towers was married to actor from 1974 until his death in 2018; the couple had no children together, though Gavin had two from his previous marriage and Towers has two from her first marriage. She was previously married to Eugene McGrath from 1959 to 1966. As of 2025, at age 92, Towers remains a celebrated figure in , occasionally returning to in guest capacities.

Early life

Birth and family background

Constance Mary Towers was born on May 20, 1933, in . She was christened Constance Mary Towers shortly after her birth, reflecting the family's traditional values. Towers was the younger of two daughters born to Harry J. Towers, a originally from , , and Ardath L. Reynolds, a homemaker from . Her parents created a nurturing environment that encouraged her early interest in the , fostering her creative development during her formative years. The family emphasized close-knit dynamics centered on stability and cultural exposure in their rural setting. In 1940, at the age of seven, the Towers family relocated from to Seattle, Washington, which deepened her connection to the . In Seattle during the 1940s, young Towers gained her initial exposure to the through appearances on local radio programs, marking the beginning of her artistic inclinations up to age 12. This period laid the groundwork for her passion, supported by her family's encouragement before their later move eastward.

Education and early training

At the age of 18, in the early 1950s, Towers relocated to with her family's support to pursue her acting ambitions, following the family's prior moves and her father's advancement in the . This transition marked a pivotal step in her development, allowing access to premier performing arts institutions in the city. Towers enrolled at the of Music in the early , where she received comprehensive vocal and performance training focused on musical theater and operatic techniques, including studying singing with Beverley Peck Johnson. Complementing this, she attended the American Academy of Dramatic Arts, completing its rigorous two-year program as part of the class of 1952. The curriculum emphasized classical theater methods, including scene study, voice projection, and character analysis under instructors such as David Le Grant, Nina Foxh, Carl Pitzer, Lyn Masters, David Craig, and Carlos Noble. During her time in New York, Towers gained early non-professional experience through involvement in amateur theater groups, which helped refine her stage presence and build initial connections with agents. These opportunities built on her childhood precursor of performing in radio plays in the , honing her natural singing talent before formal studies. To prepare for versatile roles in film and stage, she pursued additional voice lessons at Juilliard and dialect coaching at the , enabling adaptability across accents and genres essential for professional versatility.

Film career

1950s–1960s breakthrough roles

Constance Towers made her film debut in the low-budget musical comedy Bring Your Smile Along (1955), directed by in his feature directorial debut, where she played a supporting role opposite . The film, a lighthearted story of aspiring songwriters, marked Towers' entry into Hollywood after her early theater work, showcasing her vocal talents in a modest production that received limited attention but served as her initial screen credit. Towers rose to prominence with her first leading role in John Ford's Civil War Western The Horse Soldiers (1959), co-directed by and starring , alongside , in which she portrayed the feisty Miss Hannah Hunter, whose is occupied by Union . The film, inspired by , highlighted Towers' poise and spirited performance amid action sequences and romantic tension, contributing to its status as a success that grossed approximately $2.1 million domestically. This breakthrough role established her as a versatile capable of holding her own against major stars, earning praise for her graceful handling of the character's defiance and vulnerability. She continued her collaboration with Ford in Sergeant Rutledge (1960), a courtroom drama addressing racial injustice in the post-Civil War era, where Towers played Mary Beecher, the fiancée of the defending officer and a compassionate who aids the on for and . In this supporting yet pivotal role opposite and , Towers demonstrated emotional depth in scenes of prejudice and redemption, aligning with the film's progressive themes on civil rights that were notable for a major studio Western at the time. The production further solidified her reputation for bringing refined intensity to period dramas. Towers then ventured into edgier territory with Samuel Fuller's independent psychological thrillers, first as the stripper girlfriend in (1963), a stark exploration of mental illness and where her character provides emotional support amid the protagonist's descent into an asylum. She followed with the lead in (1964), portraying Kelly, a former prostitute attempting redemption in a small town, in a gritty tale of and that showcased her range in handling raw, unconventional material with conviction. These Fuller films, known for their bold, low-budget intensity, highlighted Towers' transition from polished period pieces to complex, morally ambiguous characters, earning acclaim for her fearless versatility in B-movie noirs. Later that year, she appeared in a supporting role as Peg Burke, the loyal secretary in the aviation thriller Fate Is the Hunter (1964), adding to the momentum of her early career with a performance that underscored her professional poise. Critics noted Towers' ability to convey elegance and depth across genres, transitioning seamlessly from ingénue roles in Ford's epics—where her portrayals were lauded for authentic charm and resilience—to the psychological edge in Fuller's works, where she was praised for embodying multifaceted women with psychological nuance. Her contributions to these films, particularly the commercially viable Ford collaborations, helped cement her as a rising talent in Hollywood during the era, with reviewers highlighting her poised screen presence influenced by her theatrical background.

1970s–present later appearances

After a period focused primarily on theater and television during the , Towers made a selective return to in the mid-1980s. Her comeback included supporting roles in two 1985 features: , where she portrayed dance instructor Jessie Granger, and , in which she played Muffy, the mother of a young horse enthusiast navigating family challenges and equestrian ambitions. Towers continued with character parts in the , appearing as Louisa Pierce, the elegant widow mentoring the protagonist, in the martial arts drama opposite . She followed with Mrs. Blaisedale, a society matron, in the horror-thriller , and Sandra Bradford, the poised mother of the lead character played by , in . These roles highlighted her versatility in ensemble casts, often portraying refined, authoritative women. In the 2000s and , Towers' film appearances became even more sporadic, emphasizing brief but memorable contributions to independent and genre projects. In 2008, she appeared as Mrs. Gable in the independent drama The Awakening of Spring. Her most recent feature credit came in 2018 with The Storyteller, where she took on the role of Rosemary, a key figure in the film's narrative exploration of legacy and imagination. No further film roles have been reported through 2025, reflecting a deliberate shift toward selective engagements that underscore her veteran status in supporting capacities. This later phase of Towers' film career complemented her enduring television presence, particularly her iconic portrayal of on , which enhanced her visibility and occasionally influenced casting in film cameos. With fewer leading opportunities due to age and her preference for stage and screen longevity over intensive film schedules, her post-1970s work emphasized nuanced ensemble contributions rather than star-driven narratives.

Stage career

Broadway productions

Towers made her Broadway debut in the title role of the musical Anya, a short-lived adaptation of the Anastasia legend with music drawn from Rachmaninoff's works, which opened at the Ziegfeld Theatre on November 29, 1965, and closed after only 16 performances. Starring opposite and Irra Petina, Towers portrayed the enigmatic young woman claiming royal heritage, showcasing her soprano range in numbers like "Six Palaces" and "Hand in Hand," though the production struggled with mixed reviews and financial issues. Following her debut, Towers appeared in two brief straight plays: The Engagement Baby (May 21–23, 1970), where she played Vivian Whitney in a comedy about family dynamics, and Ari (January 15–30, 1971), a musical based on Leon Uris's novel Exodus, in which she took the role of Kitty Fremont opposite Mark Dawson. Both shows closed almost immediately after opening, limiting her exposure but demonstrating her versatility beyond musical theater. Towers achieved her greatest Broadway success in the 1977 revival of Rodgers and Hammerstein's at the Uris Theatre (later Gershwin), portraying opposite Yul Brynner's King of Siam for 719 performances through December 30, 1978. Her performance as the strong-willed English governess earned praise for its poise and vocal clarity, particularly in songs like "Hello, Young Lovers" and "Something Wonderful," contributing to the revival's commercial triumph and extended run. Later, Towers served as an associate producer for the 1991 drama The Speed of Darkness at the Royale Theatre, which ran for 30 performances and addressed themes of trauma. Her Broadway career, though marked by a few short runs, highlighted her enduring presence in musical theater, where her Juilliard-honed vocal technique excelled in demanding roles from the repertoire.

Regional and touring theater

Towers began her stage career in regional theater with the role of Sarah Brown in a 1960 production of at the Civic Light Opera in . She initiated her extensive touring work in the early , portraying in the national tour of across U.S. cities in 1964, a production that showcased her and dramatic presence alongside co-stars like . This tour marked an important step in her transition from film to stage, allowing her to refine her musical theater skills in front of diverse audiences beyond New York. Following her Broadway debut, Towers appeared in notable regional revivals, including Julie LaVerne in Show Boat at Lincoln Center in 1966 and Julie Jordan in Carousel at New York City Center the same year. She also starred as Maria von Trapp in a 1967 City Center revival of The Sound of Music, earning an Outer Critics Circle Award. In regional theater, Towers appeared at the Historic Elitch Theatre in Denver during the summer of 1969, taking on the role of Stephanie Dickinson in Cactus Flower opposite Barry Nelson, a comedic highlight that drew on her versatility in lighter fare amid classic repertory programming. She continued with national tours in the 1970s, including Oh Coward! in 1974 and The King and I in 1976, where she reprised her Broadway role as Anna Leonowens, performing opposite Yul Brynner and extending the production's reach to cities nationwide. Additionally, she starred as Maria von Trapp in summer stock productions of The Sound of Music at the Jones Beach Theatre in 1970, 1971, and 1980, adaptations tailored for outdoor venues that emphasized her commanding stage charisma and vocal range to large, enthusiastic crowds. Later in her career, Towers embraced regional revivals, notably playing Phyllis Rogers Stone in a 1995 production of Stephen Sondheim's that toured from to , honing her interpretive depth in complex character roles. These engagements, spanning decades, not only built lasting audience connections in non-metropolitan areas but also provided opportunities to adapt performances for varied theatrical spaces, from intimate stock houses to expansive amphitheaters, sustaining her reputation as a multifaceted stage artist between major commitments.

Television career

Early guest roles and serials

Towers began her television career in the with guest appearances on anthology and dramatic series, building on her early training in radio and live performance in New York. She made early dramatic guest spots on shows such as in 1958, where she played supporting roles in comedic episodes, and Zane Grey Theatre in 1961, portraying Beth Woodfield in the episode "Knight of the Sun". These appearances highlighted her transition from singing on variety programs like to scripted television roles. In the , Towers became a frequent guest on anthology series and legal dramas, most notably with five appearances on Perry Mason between 1961 and 1965. She played Jonny Baker, a singer entangled in a case, in "The Case of the Missing Melody" (1961); Sheila Scott in "The Case of the Prankish Professor" (1963); Amy Lawson in "The Case of the Ice-Cold Hands" (1964); Lenore Kline in "The Case of the Tragic Trophy" (1964); and Luanne Haley in "The Case of the Feather Cloak" (1965). Often cast as elegant or mysterious figures, these roles showcased her poise in suspenseful narratives. She also appeared in science fiction anthology The Outer Limits as in the episode "The Duplicate Man" (1964), contributing to the era's experimental television storytelling. The 1970s saw Towers continue with episodic guest roles on prime-time series. She also took on brief arcs in daytime serials, becoming a regular on Love Is a Many Splendored Thing as Marian Hiller from 1971 to 1972, where she portrayed a supporting role in the long-running family drama. These television commitments supplemented her concurrent film and theater work, with guest spots often scheduled around her stage productions and movie shoots during the decade. Towers' entry into extended serial television came in 1982 with the role of Clarissa Tyler McCandless on the CBS daytime soap Capitol, which she played until 1987. As the scheming matriarch of the powerful Tyler family in a Washington, D.C.-set political intrigue, Clarissa was a recurring villainess known for her manipulative schemes and family loyalties, earning Towers praise for her commanding presence in the . This role drew on her live drama background, allowing her to deliver nuanced performances in the fast-paced format of daytime serialization.

General Hospital and recurring work

Constance Towers assumed the role of the villainous , the powerful and manipulative matriarch of the , on the drama beginning December 19, 1997. Her portrayal transformed Helena into one of the soap's most enduring antagonists, known for her ruthless schemes and unyielding quest for control over her family and . Towers' initial run as Helena lasted until April 9, 2002, during which the character orchestrated numerous plots, including brainwashing and revenge against rivals like . After a brief hiatus, Towers returned to the role in recurring capacity starting , 2003, solidifying Helena's status as a recurring force of chaos through 2018. Helena's arc evolved to include intricate family manipulations, such as allying with and betraying her son Stefan Cassadine, tormenting with curses and revivals, and employing advanced technology like brain chips to bend others to her will. This portrayal earned Towers a 2002 Daytime Emmy nomination for America's Favorite , highlighting Helena's impact as a of the scheming villainess who repeatedly defies death. Towers continued appearing as Helena in key episodes post-2018, including flashbacks in where the character revealed ties to ongoing Cassadine intrigues. She reprised the role for two episodes airing May 8 and 9, 2023, during the Nurses' Ball, where Helena's ghostly presence taunted attendees and advanced plots involving family secrets. Helena's legacy persists through archival footage and storyline references in arcs. Over more than 25 years, Towers' Helena has influenced tropes of immortal villains and family dynasties, cementing her as a in .

Personal life

Marriages and immediate family

Constance Towers was first married to businessman Eugene McGrath from April 1959 until their divorce in 1966. The couple had two children during their marriage: son Michael Ford McGrath, born in July 1960, and daughter Maureen McGrath, born on December 29, 1961. In 1974, Towers married actor , who later served as the U.S. ambassador to under President . Their marriage lasted until Gavin's death on February 9, 2018, at the age of 86. As both were established figures in Hollywood, the couple shared an active social circle within the entertainment industry during their 44 years together. Gavin brought two daughters from his previous marriage to actress Cicely Evans: Cristina Gavin and Maria Gavin. Towers and formed a blended family with their children and stepchildren, residing primarily in , where they navigated the demands of their respective careers alongside family life. Following Gavin's death, Towers has remained widowed with no subsequent marriages. Now in her early 90s, she continues to emphasize close ties with her immediate , including her children and stepdaughters.

Philanthropy and public service

Constance Towers has long been a prominent leader in the of the , having served as its chairwoman and president beginning in the 1980s to support the through and for programs. In this role, she has focused on initiatives that enhance access to arts for , organizing events that raise funds for resident companies and special projects at the Music Center. Her commitment reflects a dedication to leveraging her platform in the entertainment industry to foster cultural opportunities, drawing from her own formative training at the of Music. Towers has extended her philanthropic efforts to various charities supporting children's health and arts programs, including the Children's Bureau of , which aids vulnerable youth, and the National Health Foundation, focused on medical care for underserved children in County. She has also been involved with the Red Cross and initiatives promoting as a tool for healing and development among children. These engagements emphasize her interest in combining artistic expression with community welfare, providing resources for hospitals and therapeutic programs that benefit young people. During her husband John Gavin's appointment as United States Ambassador to from 1981 to 1986, Towers actively participated in , accompanying him to diplomatic events and hosting galas that strengthened cultural and bilateral ties. This period highlighted her role in ambassadorial functions, where she contributed to awards ceremonies and social gatherings that promoted international understanding through . Her family occasionally joined her in these philanthropic endeavors, underscoring a shared commitment to civic involvement. As of 2025, Towers continues her board service with the , remaining active in its leadership to advance and community outreach.

Awards and nominations

Theater recognitions

Constance Towers earned notable for her stage performances, particularly in musical theater, highlighting her versatility and vocal prowess in lead roles. In 1967, she received a Special Award from the Outer Critics Circle for her portrayal of in a revival of , praising her excellence in embodying the character's warmth and resilience. The American Academy of Dramatic Arts honored her with an Achievement Award in 1973, acknowledging her lifetime contributions to the dramatic arts through her training at the institution and subsequent Broadway successes. In 1974, she was awarded Best Musical Actress by the New Jersey Drama Critics Association for her performance in I Do! I Do! at the Meadowbrook Theatre. In 2018, Towers received the Spotlight Award from the Beverly Hills Theatre Guild for her contributions to theater. By 2000, Towers had amassed at least three major theater accolades, cementing her legacy as a prominent figure in American musical theater.

Television honors

Constance Towers earned recognition for her television performances through several nominations from prestigious awards bodies, particularly in the daytime drama genre. Her early television work led to a Daytime Emmy nomination in 1974 for in a - For a Special Program, for her role as Joan Baldwin in the 90 episode "Once in Her Life." She also received a Soap Opera Digest Award nomination for Outstanding Supporting Actress for her role on Capitol in the 1980s. Towers' long-running portrayal of the formidable on further solidified her status in , resulting in a 2002 Daytime Emmy nomination in the Special Fan Award category for America's Favorite Villain. These honors, spanning special programming and villainy, highlighted Towers' ability to deliver compelling dramatic performances and contributed to her enduring legacy as a key figure in American .

Filmography

Film roles

Towers began her film career with a supporting role as in the musical comedy Bring Your Smile Along (1955). In John Ford's Civil War Western The Horse Soldiers (1959), she played Hannah Hunter, a spirited captured by Union troops. She portrayed Mary Beecher, the determined daughter of a defense attorney, in the courtroom drama (1960), directed by John Ford. Towers starred as Cathy, a nightclub singer and the journalist protagonist's fiancée, in Samuel Fuller's psychological thriller Shock Corridor (1963). In The Naked Kiss (1964), another Fuller film, she took the lead role of Kelly, a former prostitute seeking redemption in a small town. That same year, she appeared as Peg Burke, secretary to an airline executive, in the aviation disaster film Fate Is the Hunter (1964). Towers had an uncredited role as a party guest in the coming-of-age comedy The Christian Licorice Store (1971). In the family sports drama (1985), she portrayed Jessie Granger. In (1985), she portrayed Muffy (Mrs. Whitney Hyde), a supportive figure in the story of a young equestrian. She returned to feature films as Louisa Pierce, a compassionate ally to the , in (1994). Towers appeared as Mrs. Blaisedale in the horror film The Relic (1997). In A Perfect Murder (1998), she played Sandra Bradford.

Television roles

Towers made her early television appearances as a guest star on anthology series and dramas in the 1950s and 1960s. In the 1960s, she portrayed various characters across five episodes of the CBS legal drama Perry Mason, including Jonny Baker in "The Case of the Missing Melody" (1961) and Leona Devore in "The Case of the Laughing Lady" (1965). She also starred as Marian Hiller in a short run on the CBS daytime serial Love Is a Many Splendored Thing from 1971 to 1972. In 1974, Towers led the CBS Daytime 90 television movie Once in Her Life as Joan Baldwin, portraying a woman escaping her failing marriage to Hawaii. From 1982 to 1987, she played the central role of Clarissa McCandless in over 260 episodes of the CBS soap opera Capitol, appearing throughout much of the series' 1,270-episode run. Towers' most extensive television work came on ABC's , where she portrayed the villainous in over 200 appearances starting in 1997, with major arcs through 2002 and returns in subsequent years including 2009–2015, 2017–2018, 2019, an offscreen voice cameo in 2020, and onscreen episodes in 2023. Her recurring role on General Hospital underscores her longevity in daytime television, spanning more than two decades. As of 2023, Towers has contributed to content referencing her General Hospital character through cameos and archival appearances.

Stage credits

Major productions

Towers made her Broadway debut in the title role of the musical Anya, a retelling of the Anastasia legend with music adapted from Rachmaninoff by Robert Wright and George Forrest, which opened on November 29, 1965, at the Ziegfeld Theatre and ran for 16 performances before closing on December 11, 1965. In a high-profile outdoor revival, Towers starred as Maria in The Sound of Music at the Jones Beach Theater in 1971, co-starring with John Michael King and performing through early September as part of the summer season. Towers starred as in the Broadway revival of , opposite , which opened on May 2, 1977, and ran until December 30, 1978, for 719 performances. Later, she appeared in the short-lived musical Ari in 1971, playing Kitty Fremont in this adaptation of Leon Uris's novel Exodus, which opened and closed after 19 performances.

Selected tours and revivals

Throughout her career, Constance Towers participated in numerous non-Broadway stage engagements, including national tours, regional productions, and revivals that showcased her versatility in musical theater and allowed her to reach diverse audiences across the . These performances, often in , light companies, and touring circuits, highlighted her voice and dramatic presence in classic roles, contributing to her reputation as a reliable leading lady in post-Broadway revivals. Over the decades, she amassed approximately 20-30 such engagements, selected here for their significance in extending the life of iconic musicals and marking key phases in her stage work. In the early 1960s, Towers gained prominence through regional and touring productions that built on her emerging theater profile. She portrayed Sarah Brown in a West Coast engagement of with the Civic Light Opera Company in in 1960, earning acclaim for her portrayal of the mission worker opposite established stars. The following year, she toured the U.S. as in Camelot (1964) and Lalume in Kismet (1962), roles that demonstrated her ability to handle romantic leads and exotic characters in large-scale musical tours. These outings, which played to packed houses in major cities, helped solidify her transition from film to stage during a period when touring companies were vital for sustaining Broadway hits. The late 1960s marked a focus on regional revivals of Rodgers and Hammerstein classics, where Towers took on starring roles in celebrated venues. At the City Center in New York, she played Julie Jordan in a 1966 revival of Carousel, delivering a poignant performance as the millworker in this intimate off-Broadway mounting that emphasized the score's emotional depth. That same year, she starred as Julie La Verne in a Lincoln Center revival of Show Boat at the New York State Theater, her interpretation of the tragic mulatto adding layers to the production's exploration of racial themes. In 1968, she briefly assumed the role of Anna Leonowens in a City Center revival of The King and I, a part she would revisit in later tours. Further west, Towers appeared as Stephanie Dickinson in a 1969 production of Cactus Flower at the Historic Elitch Theatre in Denver, a comedic role that showcased her timing in this summer stock setting amid Colorado's vibrant theater scene. She also led as Maria in productions of The Sound of Music, including a 1970 run at Jones Beach Theatre in New York, where her warm, authoritative portrayal transported audiences to the Austrian Alps in this outdoor amphitheater staging, and an earlier summer stock version in Dallas. These regional efforts, often running for weeks or months, drew large crowds and preserved the golden age of musical theater for new generations. Towers's most enduring touring highlight came in the 1970s with revivals of , where she starred opposite . Following a brief 1976 national tour, she reprised in an extensive 1979 tour that crisscrossed the U.S., performing the governess's witty and resilient arc to sold-out venues and extending the show's legacy beyond New York. This collaboration, rooted in the 1977 Broadway revival, emphasized their chemistry and the musical's exotic allure, reaching audiences in cities like and over several months. Later, in the , she took on Phyllis Rogers Stone in a 1995 regional revival of , touring through and , where her sophisticated delivery of Sondheim's cynical captured the show's themes of faded glamour and regret in these West Coast productions. These tours represented career milestones, blending high-profile partnerships with widespread accessibility. In the 1990s and early , Towers continued with select revivals and stock engagements, often in or supporting roles that leveraged her experience. and stock work in the included voice and contributions to musical revivals, such as supporting roles in classic pieces at regional houses, maintaining her presence in the theater amid her growing television commitments. These later engagements, while less headline-grabbing, underscored her commitment to live performance and its communal impact.

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