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Anne Randall

Anne Randall (born Barbara Ann Burrus; September 23, 1944) is an American model and actress best known for being selected as Playboy magazine's Playmate of the Month for its May 1967 issue. Her centerfold photograph for the feature was taken by Mario Casilli. Born in Alameda County, California, Randall began her career in modeling before transitioning to acting in the mid-1960s. She appeared in a variety of film and television roles during the late 1960s and 1970s, including the science fiction thriller Westworld (1973), the exploitation film Stacey (1973), and a guest role on the comedy series The Monkees (1966). Other notable credits include A Time for Dying (1969) and The Night Strangler (1973). Following her time in entertainment, Randall relocated to , where, as of 2005, she was actively involved as a community activist.

Early Life

Birth and Upbringing

Anne Randall was born Barbara Ann Burrus on September 23, 1944, in , a city situated in the . She spent her formative years growing up in the , a region characterized by its post-World War II economic growth and cultural vibrancy during the mid-20th century. At the age of 14, Randall began appearing as a regular on a local teenage dance program broadcast from , signaling the start of her interest in performance. Physically, Randall stood at 5 feet 4 inches (1.63 m) tall, a trait that remained consistent throughout her life. Details about her family background, including parents and any siblings, are not publicly documented in available records.

Initial Entertainment Involvement

Anne Randall, born Barbara Burrus, entered the entertainment world as a teenager through her participation in the San Francisco-based television program KPIX Dance Party. At the age of 14, she auditioned successfully after an initial rejection at 13 and became one of the show's regular dancers from 1959 to 1961. The KPIX Dance Party, hosted by Dick Stewart and broadcast on KPIX Channel 5 from 1959 to 1963, followed a format typical of teen dance shows of the era, featuring high school students dancing to Top 40 hits, lip-sync contests, talent searches, and dedications. As a regular, Randall actively engaged in the program's interactive elements, winning the Calypso Dance Contest and gaining attention for her "Dedication Songs" segments, where viewers requested tunes for crushes or friends. She also entertained audiences with a playful gimmick involving a "Fingernail File," once pranking fans by asking them to mail in their clippings. One notable anecdote from her time on the show involved a contest prize—a record player—that malfunctioned and exploded during a demonstration, prompting withdrawal and Stewart's humorous suggestion that her middle name be changed to "" after the . This local television exposure provided Randall with her first taste of performing before a live and camera, marking the beginning of her public presence in entertainment.

Modeling Career

Playboy Playmate Selection

At the age of 22, she was selected as Playboy magazine's Playmate of the Month for the May 1967 issue, marking her breakthrough in modeling. The pictorial, titled "Queen Anne," portrayed her as a "golden girl" with a playful outdoor theme that evoked the vibrant, sun-kissed essence of a California lifestyle, showcasing her blonde hair, athletic figure, and natural charm in various scenic settings. Photographed by renowned Playboy photographer Mario Casilli, the and accompanying images highlighted Randall's poised yet approachable demeanor, blending glamour with everyday allure to appeal to the magazine's readership. The feature described her as a budding actress with ambitions for a lasting presence, briefly touching on her acting aspirations in . This selection immediately elevated her profile, transforming her from an aspiring model into a recognized figure in the entertainment world and opening doors to further opportunities at a pivotal young age.

Post-Playboy Modeling

Following her selection as Playboy's Playmate of the Month in May 1967, Anne Randall capitalized on her newfound visibility to secure commercial modeling opportunities in the late 1960s. She appeared in advertisements for Coppertone sunscreen, including a 1968 print ad and television commercial that highlighted her in swimwear, promoting the brand's tanning products. These endorsements tied directly to her Playmate fame, showcasing her as a glamorous beach-ready figure in a era when such campaigns emphasized sun-kissed allure. Randall continued this commercial work into the early 1970s, featuring in another Coppertone advertisement in 1970 where she demonstrated the product's effects.

Acting Career

Television Roles

Anne Randall began her television career in the late , appearing primarily in guest roles on popular series and variety shows, often portraying attractive supporting characters such as love interests or ancillary figures in crime dramas and comedies. Her earliest credited television role was as Maiden #2 in the second-season episode "Everywhere a Sheik, Sheik" of the sitcom , which aired on September 25, 1967. In this episode, she appeared alongside in a harem-themed storyline parodying Arabian Nights tropes. Randall's television work expanded into Western and crime genres in the early 1970s. She portrayed Beverly Armstrong in the series McCloud episode "Somebody's Out to Get Jennie," broadcast on November 24, 1971, where her character was involved in a plot surrounding a business magnate's threats. Later, she played Maggie Marshall in the detective series episode "Trial by Terror" (1973), supporting the main storyline of a during a trial. Additional guest spots included Peggy Gibson in ("Forfeit by Death," 1974) and Mandy in Bronk ("Jailbreak," 1976), both crime dramas where she depicted women entangled in criminal investigations. In lighter fare, Randall appeared as Nancy in The Doris Day Show episode "The Music Man" (1972), assisting in a narrative about Doris Martin's interview with a pop star. She also had an uncredited role as Policewoman Sheila in the ABC TV movie The Night Strangler (1973), a supernatural thriller sequel featuring Darren McGavin as reporter Carl Kolchak. Her role as Catherine Lefcourt in The Rockford Files episode "The Trouble with Warren" (1976) cast her as a key figure in a convoluted scheme involving a con artist. Another appearance was as Joanne Myers in the ABC anthology Love, American Style segment "Love and the Image Makers" (1974), exploring romantic entanglements in a media context. Finally, she played Lena Ionescu in Switch episode "Net Loss" (1977), credited as Anne Randall Stewart, in a story about a tennis pro's murder. A notable highlight was her two-year stint on the variety series from 1972 to 1973, where she appeared as herself in multiple episodes, contributing to the show's mix of comedy sketches and performances alongside cast members like . Throughout her television career, spanning from 1967 to 1977, Randall frequently embodied glamorous or alluring supporting roles that capitalized on her modeling background, which helped secure these bookings in an era when fame often transitioned performers to on-screen visibility. Her appearances were concentrated in episodic television, reflecting a pattern of versatile but brief engagements in both comedic and dramatic formats.

Film Appearances

Anne Randall began her film career in the late 1960s with a series of supporting and uncredited roles in theatrical releases, often leveraging her modeling background for visually striking parts. Her early appearances included an uncredited role as Negli's Girl in the crime thriller The Split (1968), directed by and starring as a professional thief navigating a gone wrong. She followed this with a small but notable part as Model No. 2 in Jacques Demy's Model Shop (1969), a melancholic drama about aimless youth in , co-starring as a mysterious French model. That same year, Randall portrayed the innocent Nellie Winters, a saloon girl in a , in Budd Boetticher's A Time for Dying (), which marked Audie Murphy's final film role as the outlaw . Randall's output continued with the exploitation film Hell's Bloody Devils (1970), where she played Amanda, a character entangled in a web of Nazi spies and biker gangs in a low-budget actioner directed by . In 1971, she appeared as Texas Girl in The Christian Licorice Store, a satirical drama directed by , featuring as a tennis pro descending into excess. Her role as Katherine Jason, the captain's daughter taken hostage on a doomed ship, added tension to the disaster thriller Doomsday Voyage (1972), starring . The early marked the peak of Randall's film career, with more prominent roles that showcased her as a leading or key supporting actress in genre pictures. In Michael Crichton's groundbreaking science-fiction Western (1973), she played Daphne, a seductive in the Medieval World section of a futuristic theme park, contributing to the film's exploration of technology and human desire alongside stars like and . That year, she also took the lead as Stacey Hanson, a race car driver turned unraveling family secrets and murder in the thriller Stacey (1973), directed by , which highlighted her action-heroine potential in a narrative blending sleuthing with automotive chases. Following this high point, Randall's film appearances shifted toward supporting or voice work in fewer projects. She provided in the satirical J-Men Forever (1979), a production re-editing old serials into a rock 'n' roll spy . Overall, her illustrates a brief but intense period of genre versatility in the early , amid a landscape of B-movies and emerging blockbusters, before roles became less frequent.

Personal Life

Marriage and Relationships

Anne Randall first met Dick Stewart, the host of the popular San Francisco-based television program KPIX Dance Party, during her time as a regular dancer on the show from 1959 to 1963. Their professional acquaintance evolved into a romantic relationship, culminating in their marriage in 1967, the same year Randall was named Playboy's Playmate of the Month for May. Stewart, a bandleader and television personality, had three daughters from his previous marriage, which had ended in ; his first wife passed away years later. Randall embraced her role as , helping to raise the girls alongside Stewart, though the couple had no children of their own. The marriage marked a period of personal stability for Randall, who occasionally adopted the professional name Anne Randall Stewart in her credits. This foundation coincided with her transition into acting during the 1970s, as she pursued roles in film and television while maintaining a supportive life with Stewart.

Later Career and Legacy

By the late 1970s, Anne Randall had retired from acting and modeling, following her final television appearances in shows such as in 1976 and Switch in 1977. Her last credited role came in 1979, marking the end of a decade-long career in entertainment that began with her Playboy centerfold feature. In retirement, Randall relocated to , in 1994 with her husband, actor and singer Dick Stewart, to whom she had been married since 1967. Stewart died on May 31, 2019.) As of 1998, she described a fulfilling post-entertainment life centered on personal hobbies, including , , , and family time with her three stepchildren and six grandchildren, stating, "My greatest joy is my three stepchildren and six grandchildren. I'm so proud." As of November 2025, the 81-year-old Randall continues to reside privately in , where she remains active as a community activist, leading efforts on local recreation center issues. Randall's 1998 Playboy Revisited interview offered reflections on her career aspirations, noting that as a 22-year-old Playmate in 1967, her primary goal had been to become an —a dream she pursued from elementary school onward through roles in film and television. Looking back, she remarked, "Been there, done that," on her showbiz endeavors, expressing satisfaction with her achievements while embracing retirement. Randall endures as a of the and 1970s, celebrated for her status and memorable supporting roles in genre films like (1973) and television series such as (1967). Her blonde, all-American image and transition from modeling to acting exemplify the era's blend of glamour and pop culture, influencing later depictions of similar archetypes in media.

References

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