Lynn Schiller Bio
Lynn Schiller is an American actress, glamour and nude model. Born Marilyn E. Theel on March 5, 1951, in Detroit, Michigan, she has also been credited as Lynn Theel. Playboy named her its July 1975 Playmate at 24. Her appearance came during Playboy's 1970s print era, when the magazine reached the height of its mass-market influence.
Schiller has natural breasts, blue eyes and blond hair. Her measurements are 36-23-35.
Her centerfold was photographed by Larry Dale Gordon, a credit that places her pictorial squarely within the polished portraiture of the mid‑1970s. Trained in the performing arts from an early age, Schiller sang in her high‑school bands, studied dance and voice, and later attended the Lee Strasberg Theatrical Institute—an uncommon conservatory route for a glamour model of that moment and one that shows in the steadier acting choices she later pursued.
Before arriving on the pages of glossy magazines she earned her keep in a variety of practical, occasionally migratory jobs: a cabaret singer in Germany and, closer to home, working as a horse groomer in California. Those halves of a life—stagecraft by night, hands‑on labor by day—give texture to the transitional years that followed her magazine exposure.
By the late 1970s she moved into film work, beginning with a small role in the surfer drama Big Wednesday and later taking the title part in the little‑seen indie Fyre. The next decade found her in the specific register of cult horror and science fiction: she appears among the doomed in Humanoids from the Deep and again in Without Warning, performances that made her something of a familiar face for genre audiences. Television guest spots on shows such as Vega$ and Code Red rounded out a modest screen résumé.
Her last credited screen appearance came in the 1989 low‑budget sequel Hollywood Boulevard II; after that she stepped away from acting and the entertainment industry. The result is a brief, shape‑shifting career—centerfold and cabaret, character parts and lead turns—that reads less like a single trajectory than a string of distinct engagements across stage, screen and the road.
