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Robin Johnson

Robin Johnson (born May 29, 1964) is an American actress best known for her breakout role as the tough, street-smart runaway Nicky Marotta in the 1980 coming-of-age drama . Born and raised in , , Johnson began her acting career at the age of 16 with her debut in , a film that captured the gritty punk and scene of late-1970s and co-starred and . Following this role, she appeared in supporting parts in several 1980s films and television projects. Her notable film credits include the role of Gina Napoliani in the comedy Splitz (1982), the punk rocker in Martin Scorsese's (1985), and Cookie Fitzwaring in the thriller remake D.O.A. (1988). On television, Johnson appeared as operative Danny O'Toole in the short-lived NBC series Code Name: Foxfire (1985). These performances established her as a versatile character actress during the decade, though her career activity diminished after the late 1980s.

Early life and education

Childhood in Brooklyn

Robin Johnson was born on May 29, 1964, in , , . She grew up in the working-class neighborhood of during the 1960s and 1970s, a period when the area was characterized by its diverse communities of and working families and a mix of subdivided Victorian brownstones. Johnson lived at home with her mother and younger sister, Cindy. In interviews, Johnson has described her childhood as marked by a rebellious streak, including skipping school. While specific parental influences on her interest in performance are not well-documented, her family's presence in family photographs from the mid-1960s, including with her father, underscores a close-knit household in the heart of Brooklyn's evolving . Early exposure to came through the proximity to City's vibrant music and theater scenes, though Johnson has not detailed personal encounters from this time.

High school years

Robin Johnson attended Brooklyn Technical High School, a prestigious public specialized high school in Brooklyn, New York, known for its rigorous curriculum in science, mathematics, engineering, and technology. She graduated as part of the class of 1982. During her high school years, Johnson exhibited a rebellious streak, often clashing with authority figures and struggling to connect with her teachers, which reflected her independent and nonconformist personality. The structured, technical environment of Brooklyn Tech, with its emphasis on discipline and innovation, contrasted with her growing interest in creative pursuits, though she did not participate in formal school drama programs. Johnson's entry into acting began unexpectedly at age 16 while she was a student at Tech. After skipping class to smoke a on the school's steps, she was spotted by a talent scout from the Organization, who encouraged her to audition for the lead role in the film (1980). This chance encounter, following a casual test, led to an audition where she impressed casting directors among thousands of candidates, securing her breakthrough opportunity and igniting her passion for performing. Her upbringing, immersed in the vibrant urban culture of , subtly fueled this creative spark during her teenage years.

Performing arts career

Breakthrough role in Times Square

Robin Johnson's entry into professional acting came unexpectedly during her high school years at Brooklyn Technical High School in New York City. A talent scout from the Robert Stigwood Organization spotted her on the school steps and encouraged her to audition for a lead role in the independent drama Times Square, directed by Allan Moyle. At age 15, with no prior acting experience, Johnson was cast as Nicky Marotta, a rebellious punk runaway from Brooklyn who embodies street toughness and vulnerability. The 1980 film pairs Johnson's Nicky with Trini Alvarado's character, Pamela, a privileged teenager attempting who joins Nicky in fleeing a . Together, the "Sleaze Sisters" navigate New York's seedy underworld, engaging in petty crime, stripping, and a punk-fueled media spectacle promoted by a late-night DJ played by . Moyle's screenplay, inspired by real-life youth diaries and , delves into themes of adolescent against parental and societal , female amid , and the raw energy of late-1970s New York street life, underscored by a diverse punk and soundtrack. Johnson's debut performance drew acclaim for its authenticity and charisma; critics highlighted her husky voice, defiant posture, and ability to dominate scenes, making Nicky the film's magnetic core despite uneven scripting. Upon 's release on October 17, 1980, Johnson secured a three-year exclusive contract with the Organization, the film's producer known for . RSO aimed to market her as "the female ," leveraging her rock-edged persona and the film's cult potential to propel her into stardom, while the deal prohibited auditions or work with competing studios. This immediate career boost included high-profile promotions, such as her appearance on in October 1980, where she promoted the film, performed, and interacted with fans by signing autographs.

Subsequent 1980s film roles

Following her breakthrough in , Johnson secured a multi-picture deal with producer , which facilitated several subsequent film opportunities in the early 1980s. In , Johnson starred as Gina Napoliani in Splitz, a centered on a struggling all-girl that becomes entangled with a sorority's athletic competitions, blending elements of music and physical performance. She next appeared in 1983's , directed by , playing the supporting role of Joann in this coming-of-age drama about a high school romance set in 1960s . Johnson's role diminished to a brief as Punk Girl in Martin Scorsese's 1985 ensemble black comedy , where she portrayed a streetwise figure amid the film's chaotic night in . Her final feature film appearance came in 1988's D.O.A., a remake of the classic thriller, in which she played Cookie Fitzwaring, a performer entangled in a murder mystery plot. Throughout these roles, Johnson frequently embodied rebellious or edgy young women—from the musically defiant Gina to the punkish street denizen in —reflecting a rooted in her persona, though her screen time and centrality waned toward the decade's end, shifting from leads to supporting parts.

Television appearances

Johnson began her television career with a recurring role as the rebellious teenager Darcy Dekker on the soap opera , portraying the character from 1984 to 1985 and returning briefly in 1988. Her performance as Dekker, a troubled young woman involved in dramatic storylines including hostage situations, showcased her ability to handle serialized narratives. In 1985, Johnson appeared in a guest role as Candy James on the crime drama , in the episode "Golden Triangle (Part I)". In the storyline, her character, a street-smart , assists detectives Sonny Crockett and in exposing corrupt police officers involved in a tied to a safecracker. This one-off appearance highlighted her versatility in high-stakes, episodic formats. Later that year, she took on a leading series role as the resourceful agent Danny O'Toole in the spy adventure Code Name: Foxfire, which ran for eight episodes from to 1985. As part of a trio of undercover operatives led by , Johnson's character contributed to action-oriented plots involving international intrigue and hostage rescues, marking her most substantial television commitment at the time. These 1980s television engagements, spanning serialization, guest spots on prime-time hits, and a short-run series lead, offered Johnson consistent on-screen opportunities amid the irregular pace of her film projects during the decade.

Theatre work

After a hiatus from the following her early film and television roles, Robin Johnson returned to in 1997 with a lead performance in An Unhappy Woman at the Moving Arts Theatre in .[] (http://www.robinjohnson.net/an_unhappy_woman/) The production, which ran from July 11 to August 31, marked her primary documented credit and showcased her versatility in live performance. Written by Mike Folie as a sharp political , the play centers on Gayle, a cynical and outspoken woman entangled in a romantic subplot with her counterpart (played by Richard Ruyle), amid a satirical involving a mandatory "happiness drug."[] (http://www.robinjohnson.net/an_unhappy_woman/) Johnson's portrayal of the Gayle—a "raging on wheels" with an acid-tongued, misanthropic edge—earned critical acclaim for its intensity and wit.[] (http://www.variety.com/index.asp?layout=upsell_review&reviewID=VE1117329820&cs=1) The role represented a significant late-career for , allowing her to explore live theatre's immediacy after years away from acting. In a 2013 interview, she reflected on the experience as profoundly fulfilling, stating, "I will say in all sincerity that Unhappy Woman was probably one of the most satisfying things I have ever experienced as a human and an ."[] (https://jerrysaravia.blogspot.com/2013/06/interview-with-robin-johnson-born-that.html) This highlighted her foundational skills from earlier on-screen work, adapted to the demands of ensemble dynamics and unscripted audience energy. The production's success was further validated when Johnson received the Theatre Award for Best Leading Female Performance in April 1998, underscoring the impact of her nuanced depiction of Gayle's tough exterior softening into vulnerability.[] (https://www.backstage.com/magazine/article/news-wire-la-weekly-gives-29215/) Johnson's theatre work remained limited post-1997, with brief involvement in one-acts and stagehand duties at the same company, but An Unhappy Woman stands as her most notable stage achievement, demonstrating a range beyond her screen persona.[] (https://jerrysaravia.blogspot.com/2013/06/interview-with-robin-johnson-born-that.html)

Later career

Transition to

By the late 1980s, Johnson decided to leave amid declining opportunities, following the expiration of her exclusive three-year contract with the Organization, which had promised multiple film projects but delivered only her debut in (1980). During the contract's duration, which restricted her from other entertainment work, she supported herself by working as a . In June 1990, Johnson began working as a traffic reporter for KFWB-AM in through Metro Traffic Control. Her role involved delivering live on-air traffic updates, often sourced from observations, to inform commuters about congestion, accidents, and route alternatives during peak drive times—a format typical for all-news stations like KFWB. This employment with Metro ended in December 1991, but Johnson continued as a traffic reporter for KFWB through at least 2003. Johnson's acting background aided her quick adaptation to the demands of radio journalism, where her distinctive raspy voice and performance skills translated effectively to concise, engaging broadcasts. This pivot marked a successful entry into media beyond , allowing her to maintain an on-air presence in a more predictable professional environment.

Other contributions and activities

Following her career, which provided a measure of stability after her early acting roles, Johnson participated in the track for the 2000 DVD release of Times Square, joining director Alan Moyle to discuss the film's production and its growing appreciation among fans. The film has developed a lasting since its release, celebrated for its punk-rock aesthetic and Johnson's energetic performance as the rebellious Nicky Marotta, positioning her as a notable figure in 1980s independent . Johnson has made occasional public appearances reflecting on her work, including a where she addressed her career choices and preference for privacy. In recent years, she has supported fan engagement by maintaining a dedicated featuring rare Times Square artifacts, such as publicity stills and soundtrack details, and shared news of the film's 4K restoration, which screened in from July to August 2025. As of 2025, the 61-year-old Johnson maintains a low-profile lifestyle while expressing appreciation for ongoing interest in her contributions to media.

References

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