Susanne Zenor: Movies & Box Office

Susanne Zenor (born Sue Zan Zenor on November 26, 1946 in Louisville, Kentucky) is a retired American actress best known for her memorable portrayal of Margo Anderman Horton on the long‑running soap opera Days of Our Lives. Raised in the heart of Kentucky, Zenor was initiated into the Alpha Kappa chapter of the college fraternity Kappa Kappa Kappa in Jeffersonville in 1964, an experience that hinted at her emerging interest in performance and public speaking. She began her professional training at the Actors Theatre of Louisville, where she honed the craft that would soon launch her into both film and television. Zenor’s first credited film role came in the 1970 western‑drama The Moonshine War, where she played the spirited character Miley Mitchell, showcasing a natural on‑screen charisma that attracted further opportunities. Two years later she appeared—under the credit Suzanne Zenor—in Woody Allen’s Play It Again, Sam (1972), followed by a supporting turn as Alda Wadsworth in The Baby (1973), and a cameo in the dark comedy TV movie The Girl Most Likely To… opposite Stockard Channing and Edward Asner. Throughout the 1970s Zenor became a familiar face on American television, guest‑starring in such popular series as McMillan & Wife, Love, American Style, MASH*, The Six Million Dollar Man and Barnaby Jones. In 1976 she was cast as the naive blonde Samantha in ABC’s original pilot for Three’s Company, acting alongside John Ritter and Valerie Curtin; although the pilot was later re‑tooled, her involvement remains a notable footnote in television history. The following year she secured the role of Margo Anderman Horton, a vivacious and scheming character who quickly endeared herself to daytime audiences; Zenor remained on Days of Our Lives until 1980, marking the end of her credited acting career. During her tenure on the soap, she met fellow actor Edward Mallory, whom she married in 1980; the couple remained together until Mallory’s death in 2007. After retiring from acting, Zenor has largely stayed out of the public eye, leaving behind a concise yet impactful body of work that continues to be appreciated by classic‑TV enthusiasts.