M*A*S*H, a series celebrated for its poignant blend of comedy and drama amidst the backdrop of the Korean War, captivated audiences for eleven seasons. While many actors became synonymous with their roles, the long run inevitably saw cast changes. This exploration delves into why certain actors departed from M*A*S*H, examining the various reasons ranging from creative differences to career aspirations and the personal toll of a lengthy television commitment. Understanding these departures offers a deeper appreciation for the show’s evolution and the individual journeys of its stars.
George Morgan: The Pilot Episode’s Father Mulcahy – A Recasting Mystery
The most enigmatic exit from M*A*S*H is that of George Morgan, who portrayed Father Mulcahy in the pilot episode. A seasoned actor with appearances in Bonanza and Putney Swope, Morgan’s tenure as the 4077th’s priest was surprisingly brief. Despite his single episode appearance, Morgan’s face is recognizable in the opening credits of every M*A*S*H* episode, a testament to his initial role in establishing the series.
However, George Morgan’s Father Mulcahy was ultimately recast before M*A*S*H went to series. It was a common practice in early television for pilot roles to be reassessed, considering factors like cast chemistry and character refinement. In Morgan’s case, it appears the decision came down to the character’s personality. Executive producer Larry Gelbart reportedly felt Morgan’s portrayal lacked a certain “quirk,” desiring an actor who could bring an inherent, unique quality to Father Mulcahy without needing extensive script direction. William Christopher was subsequently cast, embodying the role for the show’s entire run and becoming a beloved figure in M*A*S*H lore. Sadly, Morgan’s career didn’t flourish post-M*A*S*H, with limited credits, his last being in the 1990 film Have a Nice Night.
McLean Stevenson: Colonel Henry Blake’s Shocking Season 3 Exit
McLean Stevenson’s departure as Colonel Henry Blake after season three marked a pivotal moment for M*A*S*H, and his character’s on-screen death was a truly groundbreaking event in television history. Stevenson’s Blake, the often-bemused commanding officer of the 4077th, was a central figure in the show’s initial comedic seasons. His easygoing leadership style and close, almost symbiotic, relationship with Radar O’Reilly (Gary Burghoff) endeared him to audiences.
As M*A*S*H‘s popularity surged, McLean Stevenson reportedly felt increasingly confined within the ensemble cast. Despite amicable relationships with his co-stars, he yearned for opportunities beyond being part of a large group. This ambition led to his exit in the season 3 finale, “Abyssinia, Henry.” In a shocking and unprecedented move for a major television show at the time, Colonel Blake was honorably discharged, only to be killed off-screen when Radar announced his plane had been shot down. This dramatic exit resonated deeply with viewers, boosting ratings but also sparking controversy, with some viewers reacting negatively to the sudden and tragic death of a beloved character. This bold decision underscored M*A*S*H‘s willingness to break from sitcom conventions and explore deeper dramatic territories.
Wayne Rogers: Trapper John’s Contractual Dispute and Season 3 Departure
Wayne Rogers, who played Trapper John, also left M*A*S*H at the end of season three, mirroring McLean Stevenson’s exit but for different reasons. Initially, Rogers was drawn to the role of Trapper because he found the character’s less cynical nature more appealing than Hawkeye Pierce. He joined M*A*S*H with the understanding that Trapper and Hawkeye would be equally prominent characters, mirroring the dynamic in the original M*A*S*H movie.
However, as Alan Alda’s Hawkeye became increasingly popular, the writers began to prioritize his character, leading to Wayne Rogers feeling that Trapper was being relegated to a supporting role. Dissatisfied with Trapper becoming “Hawkeye’s sidekick,” Rogers decided to leave. Adding fuel to the fire, it emerged that Rogers had never actually signed his contract due to objecting to a “morals clause.” This contractual oversight meant producers had no legal grounds to prevent his departure. Consequently, Trapper John was written out abruptly at the start of season 4, with an off-screen discharge and no farewell to Hawkeye, reflecting the behind-the-scenes tensions. Rogers later starred in House Calls and notably, the M*A*S*H franchise recast Trapper John in the spin-off Trapper John, M.D., with Pernell Roberts taking over the role, further distancing Rogers from his iconic part.
Larry Linville: Frank Burns’ Boredom and Season 5 Farewell
Larry Linville masterfully embodied Major Frank Burns, inheriting the role from Robert Duvall in the M*A*S*H movie. Linville’s portrayal cemented Frank Burns as a memorably detestable antagonist within the 4077th. Burns was characterized by his judgmental nature, self-absorption, and rigid adherence to rules, making him a constant foil to Hawkeye and Trapper’s irreverent antics. His affair with Margaret “Hot Lips” Houlihan (Loretta Swit) added another layer to his complex, if unlikeable, personality.
After five seasons, Larry Linville decided to leave M*A*S*H, citing boredom with playing such a consistently “weasley” and cartoonish villain. He also felt the show’s increasing shift towards drama made Frank Burns’ comedic antagonism feel out of place. In the storyline, Frank’s departure is triggered by heartbreak when Margaret ends their affair and becomes engaged to another man. The season 6 premiere reveals Frank has been sent stateside for psychiatric evaluation after a drunken incident in Seoul, news that is met with jubilation by the 4077th, signifying the unit’s relief at his permanent absence. Despite his impactful portrayal of Frank Burns, Linville, like other departing M*A*S*H actors, found his post-M*A*S*H career primarily in guest roles.
Gary Burghoff: Radar O’Reilly’s Exhaustion and Season 8 Exit
Gary Burghoff holds a unique place in M*A*S*H history as the only actor to carry his role from the movie to the television series. His portrayal of Corporal Walter “Radar” O’Reilly, however, evolved from the movie’s depiction into a more naive and innocent character, quickly becoming a fan favorite. Radar’s gentle nature, uncanny ability to anticipate Colonel Blake’s needs, and endearing connection to home resonated deeply with audiences.
However, the demanding schedule of M*A*S*H, particularly in its later seasons, took a toll on Gary Burghoff. Despite the less successful career trajectories of previous M*A*S*H alumni, Burghoff chose to leave during season 8, seeking respite from the long filming schedule. Unlike previous departures, Radar’s exit was handled with significant emotional weight and occurred on-screen. In a poignant episode, Radar receives a hardship discharge to return to his family farm in Iowa following a death in the family. This on-screen farewell provided a touching and fitting send-off for a beloved character. Following M*A*S*H, Burghoff appeared in guest roles and briefly reprised Radar in AfterM*A*S*H and a failed spin-off pilot, W*A*L*T*E*R.
Life After M*A*S*H: Career Paths and Regrets
Ironically, despite the immense popularity of M*A*S*H, none of the actors who left the show achieved major stardom afterward. McLean Stevenson, despite being a fan favorite as Colonel Blake, found his solo career faltering. He hosted The Tonight Show and took guest roles, but his own sitcom, The McLean Stevenson Show, failed to capture audiences. Stevenson himself acknowledged that leaving M*A*S*H was a regrettable decision, realizing audiences loved Henry Blake, not necessarily McLean Stevenson the individual star.
Wayne Rogers’ departure, marked by contractual issues, led to the M*A*S*H franchise distancing itself from him. While Trapper John, M.D. was created, Rogers was not asked to reprise his role; Pernell Roberts was recast. Rogers’ post-M*A*S*H work included House Calls and guest roles, but nothing that matched the fame of Trapper John. Similarly, Larry Linville and Gary Burghoff found their careers shifting to primarily guest appearances in television and minor film roles, a far cry from the consistent spotlight of M*A*S*H. George Morgan’s career post-M*A*S*H was the most limited of all, with very few subsequent roles.
In conclusion, the actors who left M*A*S*H did so for a variety of personal and professional reasons, ranging from seeking new creative challenges and escaping typecasting to contractual disputes and the sheer exhaustion of a long-running series. While their departures marked significant shifts in the show’s dynamic, and in some cases, television history, their post-M*A*S*H careers highlight the unique and sometimes unpredictable nature of fame and fortune in the entertainment industry.
