IN: Kate O'Mara (10 August 1939 - 30 March 2014) was an English film, stage and television actress, and writer. O'Mara made her stage debut in a 1963 production of The Merchant of Venice. Her other stage roles included Elvira in Blithe Spirit (1974), Lady Macbeth in Macbeth (1982), Cleopatra in Antony & Cleopatra (1982), Goneril in King Lear (1987) and Marlene Dietrich in Lunch with Marlene (2008). Her films included two 1970 Hammer Horror films: The Vampire Lovers and The Horror of Frankenstein.

O'Mara was born Frances Meredith Carroll to John F. Carroll, an RAF flying instructor, and actress Hazel Bainbridge (born Edith Marion Bainbridge; 25 January 1910 - 7 January 1998). Her younger sister is actress Belinda Carroll. After boarding school she attended art school before becoming a full-time actress. O'Mara made her stage debut in a production of The Merchant of Venice in 1963, although her first film role was some years earlier (under the name Merrie Carroll) in Home and Away (1956) with Jack Warner, as her father, and Kathleen Harrison.  Her earliest television appearances, in the 1960s, included guest roles in Danger Man, Adam Adamant Lives!, The Saint, Z-Cars and The Avengers. In 1970, she appeared in two Hammer Studio horror films: The Vampire Lovers and The Horror of Frankenstein. In the former, she had an erotically charged scene with Ingrid Pitt, in which O'Mara was meant to be seduced; the two women were left laughing on set, however, as Pitt's fangs kept falling into O'Mara's cleavage. O'Mara's work in The Vampire Lovers impressed Hammer enough for them to offer her a contract, which she turned down, fearful of being typecast.  She had a regular role in the BBC drama series The Brothers (1975-76) as Jane Maxwell, and in the early 1980s, O'Mara starred in the BBC soap opera Triangle (1981-82), sometimes counted among the worst television series ever made. She played the villainous Rani in Doctor Who. The character, as played by O'Mara, appeared in two serials, The Mark of the Rani (1985) and Time and the Rani (1987) and the Doctor Who 30th Anniversary Special Dimensions in Time (1993), part of the Children in Need charity event.  Between these appearances in Doctor Who, she played Caress Morell in the American primetime soap opera Dynasty. As the sister of Alexis Colby (Joan Collins), O'Mara appeared in 17 episodes of the sixth season and 4 episodes of the seventh during 1986. "We had a tremendous bitchy tension between us", the actress recalled about performing opposite Collins. "My character Caress was like an annoying little mosquito who just kept coming back and biting her." O'Mara disliked living in California, preferring the change of seasons in Britain, and to her relief was released from her five-year contract after Collins told the producers that having two brunettes in the series was a bad idea. After returning to the UK, she was cast as another scheming villain, Laura Wilde, in the BBC soap Howards' Way (1989-90).

WHEN DID SHE GET INTO ACTING

OUT: O'Mara made her stage debut in a production of The Merchant of Venice in 1963, although her first film role was some years earlier (

input: 1972 saw the start of increasing line-up disruption for Gong. Laurie Allan left in April to be replaced by Mac Poole, then Charles Hayward and then Rob Tait, before returning again late in the year. Gilli Smyth left for a time, returning to Deia to look after she and Daevid Allen's baby son, and was replaced by Diane Stewart, who was the partner of Tait and the ex-wife of Graham Bond. Christian Tritsch moved to guitar and was replaced on bass by former Magma member Francis Moze, while the band's sound was expanded with the addition of synthesizer player Tim Blake.  In October they were one of the first acts to sign to Richard Branson's fledgling Virgin Records label, and in late December traveled to Virgin's Manor Studio in Oxfordshire, England, to record their third album, Flying Teapot. As they settled in, they were played a rough mix of Mike Oldfield's Tubular Bells, then already in production. Towards the end of their recording sessions they were joined by English guitarist Steve Hillage, whom they had met a few weeks earlier in France playing with Kevin Ayers, and who had replaced Oldfield in Ayers' band. He arrived too late to contribute much to the album, but would soon become a key component in the Gong sound.  Flying Teapot was released on 23 May 1973, the same day as Tubular Bells, and was the first installment of the Radio Gnome Invisible trilogy, which expounded upon the (previously only hinted at) Gong mythology developed by Allen. The second part, Angel's Egg, followed in December, now featuring the 'classic' rhythm section of Mike Howlett on bass and Pierre Moerlen on drums. In early 1974 Moerlen left to work with the French contemporary ensemble Les Percussions de Strasbourg and Smyth left to give birth to she and Allen's second son. They were replaced once again by Rob Tait and Diane Stewart, and the band moved from its French base at Pavillon du Hay to an English one at Middlefield Farm, near Witney, Oxfordshire. Moerlen, and later Smyth, returned in order to complete the trilogy with the album You, but by the time of its release, in October 1974, Moerlen was back with Les Percussions de Strasbourg and Smyth had settled permanently in Deia with her young sons. Prior to touring in support of You, Allen visited Smyth and the boys in Deia, while the rest of the band, including the departed Moerlen, recorded the basic tracks for Hillage's first solo album, Fish Rising. Moerlen was initially replaced in Gong by a succession of stand-ins (Chris Cutler, Laurie Allan and Bill Bruford) until former Nice and Refugee drummer Brian Davison took the job in early 1975. Smyth had already been replaced by Hillage's partner Miquette Giraudy.  In June 1974, Camembert Electrique was given a belated UK release by Virgin, priced at 59p, the price of a typical single at the time; a promotional gimmick which they had used before for Faust and would use again for a reggae compilation in 1976. These ultra-budget albums sold in large quantities because of the low price, but the pricing made them ineligible for placement on the album charts. The hope was that new fans would be encouraged to buy the groups' other albums at full price.

Answer this question "What was the title of the third part?"
output:
You,