Leigh Taylor-Young (born January 25, 1945) is an American actress who has appeared on stage, screen, podcast, radio and television. The most famous films in which she had important roles include I Love You, Alice B. Toklas (1968), The Horsemen (1971), The Gang That Couldn't Shoot Straight (1971), Soylent Green (1973), and Jagged Edge (1985). Early life Young was born in Washington, D.C. She added the surname Young, the surname of her stepfather, Donald E. Young, a Detroit executive. Her father was a diplomat, and her younger siblings are actress/sculptor Dey Young and writer/director/producer Lance Young. The siblings were raised in Oakland County, Michigan. Leigh graduated from Groves High School, Beverly Hills, Michigan in 1962. Before attending Northwestern University as an economics major, she spent a summer shifting scenery, modeling, acting, and sweeping up at a Detroit little theater. She left Northwestern before graduating to pursue a full-time acting career, making her professional debut on Broadway in 3 Bags Full. About dropping out of college, she said: Career 1960s Taylor-Young got her first big break in 1966, when she was cast as Rachel Welles on the primetime soap opera Peyton Place. Her character was written in the show as a replacement for the character of Allison MacKenzie, previously played by Mia Farrow. The series' producer, Everett Chambers, cast her because of her "great warmth and sweet angelic qualities not unlike Mia". When she received the role, Taylor-Young had been in California only a few days. She initially went there in April 1966 to recuperate from an attack of pneumonia. She impressed the head producer of Peyton Place, Paul Monash, with a performance from The Glass Menagerie and was immediately signed to a seven-year television and multiple-movie contract. Shortly after, she told the press: "I'd have preferred to stay in New York to establish myself as an actress before coming to Hollywood." It was on this series that she met Ryan O'Neal, whom she later married. Taylor-Young had difficulty working on the show, explaining in an April 1967 interview: "When I got my first check for [3 Bags Full], I thought to myself, 'isn't this wonderful — being paid to have fun.' But after working in 70 chapters of Peyton Place out here in Hollywood, I'm glad to get my paycheck. I can now understand why good actors and actress complain about going stale in television. It's difficult to give a