Interviews
The Jeff Giles Interview – Llanview in the Afternoon: An Oral History of One Life to Live
Courtesy/JGiles
In a time when fans are awaiting to find out the fate of the beloved One Life to Live once again, writer Jeff Giles just recently released his un-authorized history of the series in the book titled Llanview in the Afternoon: An Oral History of One Life to Live. The self-published book is available at Amazon.com and via a kindle.
Taking a look back through four decades of the series on ABC and its often quirky, heartbreaking, shocking, dramatic, or even at times, non-sensical storylines, Giles speaks to countless producers, former and current cast members, and behind-the-scenes crew to learn some of the untold story about what went into making the series, the backstage drama, and how the show often times struggled to find its own identity in the early days sandwiched between ABC Daytime heavy weight brands, General Hospital and All My Children.
On-Air On-Soaps chatted with Giles after reading the book ourselves, where we were stunned at some of the admissions he related that some cast members told him, and never before heard backstage tales. So if you are a long time fan of the series, buckle up and read below at what Erika Slezak (Viki), Nathan Fillion (Ex-Joey), Hillary B. Smith (Nora), Brandon Buddy (Cole), Anthony Call (Ex-Herb), and many more had to say on a myriad of topics! Jeff clarifies to us that his intent to write the book was to share his passion and love for the series, and give credit to the hardworking men and women who have worked tirelessly to bring Llanview to life for now 45 years.
MICHAEL:
How long did it to take you to write this oral history of One Life to Live, which seemingly contains quotes taken from many interviews with people in front of the camera, or behind the scenes, during OLTL’s ABC days?
JEFF:
Courtesy/IMDB
It took me a year and half to write it. I think it helped by the fact that I was talking to people who were not on the show, and had not been on the show for a very long time, and did not have a stake in One Life to Live, or were even acting anymore. The first person I spoke with was Tony Call (Ex-Herb Callison), and then I went to Marilyn Chris (Ex-Wanda Wolek), and Michael Storm (Ex-Larry Wolek). I also spoke with Bob Woods (Bo Buchanan), who has still been part of the show, whose phone number I got from Marilyn Chris. That was another way that it happened. People would talk to one another and suggest other people for the book, for the most part. Nobody seemed very concerned that it was un-authorized.
MICHAEL:
When you read the book there are some jaw-dropping moments for One Life to Live fans that they may never have heard about before. For instance, I have not heard Erika Slezak (Viki) talk this candidly before, either. So then people call into question the validity of the book. What would you say to that?
JEFF:
There were people, and she was part of the group, that told me things that were off the record, and it did not make it in. There were things people told me that did not make it into the book, actually. A lot of the conversations were even more candid then what ended up in the final book, because I didn’t want it to be a dirt-digging expedition, because that was not the point. I did not want anyone to grind any axes in here, with the exception of Ellen Holly (Ex-Carla Hall) because I knew it was already public record, and that is why I sought out Arthur Burghardt (Ex-Dr. Jack Scott) to ask for his side of the story.
MICHAEL:
Courtesy/Ebony
Speaking of people from the past, one of the more heartbreaking things in the book is kind of following the downfall of actors who were being phased out, or were just written off, after years on the show!
JEFF:
Steve Fletcher (Ex-Brad Vernon) and Michael Storm (Larry Wolek) are a powerful example of how brutal daytime can be! In theory, it’s an open-ended gig; the show never stops. It’s such a weird thing for an actor to assume a character that is supposed to go on and on. And you often don’t get to have closure; especially guys like Michael Storm.
MICHAEL:
So, why did you decide to write Llanview in the Afternoon: An Oral History of One Life to Live?
JEFF:
I am fascinated by the medium in general. I think it’s loaded with possibilities that are often, for whatever reason, left untapped. I am concerned for a number of reasons for the way it’s dwindled for the last decade in change. When I interviewed Paul Glass (current musical director at GH), that was my in, and if it hadn’t been for his stories, and more importantly his encouragement, I don’t think I would have had the gumption to do it. The more I thought about it, the more I thought somebody should do it, and it did not seem like anyone was going to do it.
MICHAEL:
Who shocked you the most when speaking to them?
JEFF:
Probably Joe Stuart (executive producer OLTL 1977-1983). I was terrified to talk to him after all the stories I had heard about him. In the book, there are a lot of stories about what a tyrant he was on set, and that he kept a punching bag in his office, and he fired people for inscrutable reasons. Everyone lived under this terror of being called into his office. When I talked to him he was this sweet, good-humored older man. We had a warm conversation.
MICHAEL:
Courtesy/ABC
At the very beginning of its run, OLTL was about a diverse group of families of different social and economic backgrounds. You had the blue collar Wolek’s, the Jewish Siegels, the wealthy Lords, and an African-American family in the Halls. It almost seemed that after Judith Light left the show in the early 80’s as Karen Wolek, the show got away from what made it originally groundbreaking, and at times it looked like it was fighting so hard for an identity.
JEFF:
I am guessing, much like me, you saw every ten to fifteen years they would have a new little pocket of token minorities kind of bubble up for a little bit, and then fade away.
MICHAEL:
So many producers changed up One Life to Live in the early days; that if they had kept it to what it was at the beginning, it would have been a defining show in the ABC lineup instead of the least known of the ABC Daytime brand fighting for recognition between General Hospital and All My Children.
JEFF:
You are absolutely correct! And, I think a whole other book could be written about how everyone grossly misunderstood what Gloria Monty was doing at GH, and how deeply it affected every other show in daytime. And as far as getting away from its original identify, all OLTL had to do was go back to what they had at the beginning.
MICHAEL:
Courtesy/YouTube
There was a really interesting moment in the book where Tony Call admits to a director’s note he was given on how to play the classic courtroom confession, where D.A Callison is grilling Karen and breaking her down bit by bit! Apparently, Tony hated his performance!
JEFF:
I was fortunate to speak with him right after the OLTL Marathon on SOAPnet, shortly before they went off the air on ABC. So his performance was fresh in my mind, and I remember thinking,” Oh, my God. This is so over the top.” My clear memories of Herb are from the 80’s, and not that period. And I remember him being a much more naturalistic actor. So, I wanted to ask him about that. He was very funny. I really enjoyed hearing how he would go to real courtrooms and watch lawyers at work, and try to emulate what they were dong, and how ashamed he was of his own performance in this really iconic moment in the show’s history.
MICHAEL
“Solaramite and the Big 80’s” is the name of a chapter in the book, which harkens to the ridiculousness of some of the story arcs and themes at that time!
JEFF:
That storyline in particular reminds me of that weird interlude in OLTL’s history where they were kind of fumbling about, and it was mentioned in passing in the book, how Asa had a western bar and people hung out there, and they dabbled in country singing for a little bit Bo owned a football team for awhile, and there was a period in the early 80’s where they did not know which direction they wanted to go. But, that was an inadvertant prelude to all the stuff Paul Rauch (former OLTL executive producer (1984-1991) got up to with the Wild West, Heaven, and Eterna storylines. I wish I had gotten more people to talk about Eterna, because that is the one that really is ridiculousness to me.
MICHAEL:
Courtesy/ErikaSlezak.com
I love when Erika Slezak talks about working with props like the papier-mâché looking rocks in the underground city of Eterna scenes! She said in your book, ” So here were these two grown men, respected actors and directors, digging a hole in the studio floor to find the entrance to Eterna behind little papier-mâché rocks.”
JEFF:
I was lucky with that too, because those scenes were also on the OLTL SOAPnet marathon, and Erika was in scenes with the actor who played the Native American spirit guy called “Bright Eyes”. My question to Erika was, “What is your approach to carry a scene like that, because it was obvious that the guy was not an actor, and you are surrounded by all of these very fake-looking props (I mean it looks fake on the TV screen. It has to look ten times faker on the set.) How do you sell the material?” And that was her response, and she told me the director of that scene had to read “Bright Eye’s” lines to him one by one from off-camera as the scene was being filmed … he was that bad!
MICHAEL:
So in your book, Clint Ritchie’s (Ex-Clint Buchanan) drinking problem is discussed. Erika Slezak seemed to have a good perspective on the situation, though.
JEFF:
There was no judgment from her at all. That story from her in the book, where he accidently throws a chair at her and she ends up stopping the scene, I left it in the book because she told it as part of the story, that the main condition for him re-signing with the show was that they needed to buy Erika a director’s chair, or he was not going to come back. I thought that highlighted what a complex guy he was, and how complicated it was for everyone else who had a relationship with him. Michael Storm talks about how he did not like working with Clint. There were a couple of other people who talked about how belligerent he would get on the set, and how kind of mean he could be. But, he was not always like that. He was talented, and I thought Erika seemed to have a clear picture of who he was. I never was of the opinion that he was judging him for his behavior Linda Gottlieb (Former OLTL executive producer 1991- 1994) tells a story about showing up to the set on a Monday morning and the cast is in the middle of filming this dinner scene. Clint showed up with bandages on his face, because he had gone out and done what they call “getting a little work done.” She flipped out and was livid, because they had to change the storyline completely because his appearance had changed.
MICHAEL:
Out of all the producers that you discussed with former cast members, or behind the scenes personal, was there one producer who stood out as the most favorable?
JEFF:
Courtesy/ABC
No one said a bad word about Frank Valentini, and no one said a bad word about Jean Arley, either. But everyone loved Frank Valentini, and how he earned his stripes under Paul Rauch.
MICHAEL:
In the book, there is a point where Hillary B. Smith (Nora) talked about one of the grossest moments in the shows story, involving Roscoe Born (as Mitch Laurence)?
JEFF:
She said, “She was so turned off by her own show, because she was so turned off that he was trying to rape his daughter, while spouting bible verses!” (Laughs)
MICHAEL:
How was Roscoe Born to talk to? Mitch was such a heinous character, but the series always found a way to bring him back!
JEFF:
Roscoe was wonderful to talk to. I think he is funny. He will say things and contraindicate things – such as: he did not really care for the daytime stigma, but then talk about how it affected his career, and all the roles that it cost him, and the personal embarrassment of how people treated him because of it. He was very open about that.
MICHAEL:
Courtesy/YouTube
One of the things mentioned in the book that is fascinating is that during the closing arguments in Todd’s rape case, (that Hillary B. Smith won the Daytime Emmy for) she related to you that she overstepped her bounds and re-wrote a lot of the closing argument from the original dialog given to her, by then OLTL head writer, Michael Malone.
JEFF:
I can tell you that Michael Malone and Hillary are still friends, because it was Michael who put me in touch with Hillary.
MICHAEL:
You also reveal how a beloved favorite, Marilyn Chris (Ex-Wanda Wolek) decided she was done with the show. I remember watching the show back then. All of a sudden, Marilyn was gone!
JEFF:
She did not want to do it anymore. Marilyn was so afraid they were going to make her an offer she couldn’t refuse, so she begged them not to give her any financial figures. She just said, “No, I can’t do it anymore.” I think she saw the way the show was changing, and I don’t think she was really one of the actresses that had an allegiance to daytime. I think like for a lot of other actors, it was a terrific way for her to subsidize her theatre career, and then she did not need the money anymore. She was not working as much, and the landscape of the show had changed to such a great extent, it was easy for her to let go of the character.
MICHAEL:
Where does your book end … because right now, there is a huge cliffhanger for fans if One Life to Live will see a second season with Prospect Park?
JEFF:
It ends after the first season of the revival of One Life to Live, and interestingly enough the way that Prospect Park constructed their sets. At ABC, the actors would come and go all day long for block/ taping schedules. At Prospect Park’s version, the actors would have to be on set mostly all day long. Both Erika and Hillary said it had the effect of restoring some of the theatre and repertory feeling to the company, and restored some of the comradarie they had in the old days. I thought that was a nice way to bring it full circle. I was really struggling to end the book on a happy note. Since the “shelving” news came out just before I thought I was done. So I ended it on a question mark … rather than a period.
Courtesy/ABC
MICHAEL:
Castle star Nathan Fillon (Ex-Joey Buchanan OLTL) also participated in the book?
JEFF:
Yes, he was wonderful. The sense you get from him is he is a passionate defender of daytime. He tells a great story of Bob Woods in the book where Nathan credits One Life to Live with giving him all the tools to become a successful actor, and how they gave him an acting coach. He was green, and he picked up all these skills. Towards the end of his contract Bob Woods set him down and said, “You are going to leave. No matter what, you are going to tell the network you are leaving at the end of your contract. And, you are going to go to L.A. and do whatever it takes to get your career off the ground. And if you try and you fail, you can always come back to One Life to Live. But if you try and you stay, you are going to find yourself trapped in what Woods called, ‘Golden handcuffs’.” It is his way of describing the soap actor’s lifestyle. You get locked into that role for so many reasons; some of which are the steady work and money. You build a lifestyle, and you have mortgage payments to make, and you can’t get out to do other productions because you are always on the soap. Then sometimes casting directors don’t want to see you because you have been on a soap. For someone like Woods, it gave him a good life and lifestyle. When Nathan Filllon told that story, and he looks around and sees everything he has, he knows he owes it to Bob Woods.
MICHAEL:
You also had a great story about Brandon Buddy coming from Texas and landing the role of Cole Thornhart.
JEFF:
I spoke with Brandon and how he got the role. His manager told him, “You are not going to get the part, but go out to New York and have fun and treat it like a vacation.” Brandon said he went out and tried out with all these other guys in the room, who were trying out for Cole. After the auditions, somehow Brandon ended up ferrying all of these guys back to the hotel they were staying at. And as he is driving them back to the hotel, they are all telling him how sure they are that they got the role! (Laughs) Brandon seems very self-effacing and down to earth.
Courtesy/ErikaSlezak.com
MICHAEL:
The AIDS quilt storyline was one of the most emotional and remembered storylines in the history of OLTL, and so important for its time. Roy Thinnes did a remarkable job at playing Sloan Carpenter, who dealt with coming to grips with his own son being gay, and also falling in love with Viki, and eventually dying. But what went down behind the scenes, according to you in the book, was also intriguing!
JEFF:
Linda Gottlieb and Michael Malone lured Roy Thinnes back to play Sloan, after he played his other role on the show of Alex Crown. He talks about how Alex was killed, and then they called and asked him to come back and he said, “My character’s dead!” Linda woo’d him back, because first he wanted to work with Erika Slezak and second, the story of the crusty old military guy who learns to accept his gay son, appealed to Roy. Unfortunately, it did not end very well. They were playing him against Clint Ritchie, and Linda wanted to make a triangle on-screen. Clint got hurt with a tractor accident and they had been meaning to get rid of Sloan. But then when Clint got hurt they knew they needed to keep him around, and so they signed him to another deal. And then when Clint got better, they decided to get rid of him. And Peter Miner (Director, OLTL) said in the book, Roy was miserable because they would not tell him what Sloan was dying of, and he had no idea what was happening.
MICHAEL:
As someone who watched the show for a big chunk of time, went away from it and then came back to it years later, what are your favorite storylines or characters of all-time?
JEFF:
Photo Credit: ABC/Getty Images
When those three characters; Todd, John and Starr went over to General Hospital after One Life to Live ended on ABC, I was excited about the idea of it, as I wanted to see the characters continue, but seeing them in a different context really drove home for me that my fondness for OLTL was never really about any particular character, or couple. For me, it was the sum total, and all of those characters in that place of Llanview. And part of what was so gratifying about me coming back to One Life to Live after not watching it for so long was that sense of place. I mean, obviously, it wasn’t completely the same, but a lot of it was. That felt good.
MICHAEL:
When you watched the final two episodes of One Life to Live on ABC, and the sheer brilliance of the writing, production and acting, what was the most moving moment for you as a long time fan of the show?
JEFF:
The really moving moment for me was in the final episode when Bob Woods turned to Hillary B. Smith and said, “I love you, Red.” He said it in such a way that you could tell that he meant it. He was in tears, and I told him how much I loved that scene. There are a few moments from the last few years of the show on ABC that also were so emotional impactful to me, and one of those was when Viki and Jessica (Bree Williamson) are together and Jessica remembers that her baby died. Instead of going over the top like a soap might, it was so quiet. They just held each other.
Courtesy/JeffGiles
MICHAEL:
What is the picture on the cover of your book supposed to be? Fans have been inquiring!
JEFF:
Well, I knew I couldn’t use any logo, or any still from the series, so I had to improvise. So I went to a stock photo company, and used a picture from the Philadelphia Town Hall, because it reminded me a bit of the opening credits of OLTL from the 80’s.
MICHAEL:
When, or how were your interviews with Erika Slezak (Viki) conducted? Why do you think she wanted to talk with you about all things OLTL?
JEFF:
There were two interviews with Erika, actually. She called me, and we talked for a while, and she invited me out to her place in Vermont. And, we spent an afternoon doing follow-up stuff. It was wonderful. Erika made me quiche! It was surreal. I think the other thing people might want to take away from this, is often soap actors don’t have a chance to talk about the craft of acting in the context of daytime. There is an incredibly unique thing they do of inhabiting one character for gross quantities of time, and using the character to traverse these insane emotional landscapes. I think she was maybe glad for the opportunity to talk about all of this stuff.
MICHAEL:
What is that you want fans to takeaway from your book? Was this a project done out of love for OLTL?
JEFF:
Courtesy/ABC
Yes, this was a project of love, and that is all it is. I tried to write in such a way that even if you did not see the show, it’s still an interesting read. I never really understood how deeply the odds were stacked against the people that worked on the show, from the actors, to the writers, to the producers. They were always barely on the edge of the whole damn thing falling apart. I think that is what carries through in the book, that as much as people may want to make fun of, or laugh at soaps, there is a lot of profound emotional drama that comes out of those shows. It’s the only type of drama you can get out of a long form narrative, and that is on a soap opera. The fact that it works as often as it does is a real testament to the skill, and the craft, and the dedication, and the effort that went in to those shows.
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Thank you for this interview. I got the book on my kindle as soon as it came out and now i’m in the process of rereading it. A book like this takes a few readings to get everything to sink in…it’s so great! a Must-have for all OLTL fans!
Thank you for the interview! Fascinating. Reading the book now.
This is a must own book for ANY soap fans, even if they never watched OLTL. *Finally* truly candid remarks, and the whole he said/she said format helps let the viewer make their own mind up about what happened. Especially thrilling to hear so many stories of the early years of the show–there’s always been so much mis-information (ie just how involved was Agnes during the 70s? Again, from a few different comments you’ll have to decide for yourself.) I bought the Kindle edition when it first came out–even though I have no Kindle (I used the free computer Kindle… Read more »
Thanks for letting us know about this book a while back. It is fascinating – I can’t put it down! Brings back lots of memories of beloved actors and storylines.
I am half way done with the book it was written well not a tell all vibe , Ms holly seems to have issues. It would be nice if Erika would write a book about OLTL / her life she a classy lady and would not scandalize thing s, but I read somewhere that she wouldn’t write a book , but she did say she wouldn’t be on twitter their and she is on twitter , she tweets sometimes . so maybe u should ask her michael.
Hi Fran –
I have been hoping Erika Slezak writes a biography that would have OLTL at its center . It would b a fascinating read for any soap fan as her view of over 40 years on the sam show would be a unique and thoughtful read.
Thanks for writing this book. Hope to pick it up soon.
Will read it every day at 2:00pm, turning off the tv.
Maybe PP will see the sales and realize what they are missing out on.
Ordered this book the day Michael posted about it and couldn’t put it down. Well worth the money and a must have for OLTL fans.
This books is a delight and so entertaining and written with meaning. I ordered the Kindle edition as soon as I heard of the project. I am greatly enjoying it. Grew up with OLTL and hung on through all the shifts. The original premise of living in a diverse community with its class and economic struggles is the golden age for me. Loved it then.
Thanks Jeff. One Life to Live is my favorite soap and I enjoyed the excerpt above and mention of all the past characters. I didn’t know about your book until I read it in the interview but I immediate went to buy it. I know I will enjoy it since it is about characters that filled an hour of my day for so many years. I surely hope PP puts OLTL back on soon. I just hope it is soon. Thanks again for the book Jeff and to Michael for telling us about it.
Hmmm…I wonder…I wonder if Jeff Giles’s, um, book includes the following tidbits: 1. When Linda Gottlieb was OLTL’s executive producer in the early 90’s, Phil Carey tried (more than once) to undermine her authority. At one time, he even tried to get her fired. 2. Basically EVERYONE on the OLTL set HATED working with Barbara Luna because she was too difficult and demanding to work with. Clint Ritchie ESPECIALLY hated working with her. 3. BOTH Joe Stuart and ESPECIALLY Paul Rauch treated Ellen Holly like dirt. 4. Paul Rauch VERY CRUELLY fired BOTH Ellen Holly and Lillian Hayman will little… Read more »
I loved the courtroom scenes from when Judith Light confessed that her character Karen was a prostitute. I was too young to watch when these scenes first aired; but, I have seen them since in reruns; and what fantastic scenes! That’s what I miss about daytime, cliff-hanger Fridays, great, diverse storylines, like when Tad was sleeping with Marion and Liza on AMC, Erica was having an affair with Travis’ brother, Jack on AMC, old-style Luke and Laura on GH, the adventures of the WSB on GH and all of the 80’s icons, dramatic heat from Sonny and Brenda on GH,… Read more »
Does the book mention ANYTHING on Jacqueline Courtney and George Reinholt? I wonder if it touches on her affair with Joseph Stuart or how Robert S. Woods wasn’t that thrilled with her. Also, from what erika has had to say about Clint Ritchie, it seems that he was VERY much like George Reinhol, an emotionally tortured person who ALSO threw a chair on the set (that was during his “Another World” days- he threw it at AW director Ira Cirker in rage over Pete Lemay’s scripts- it’s been said that this particular incident led to his 1975 AW firing). OLTL… Read more »
Charles…honestly, I forgot about Jacqueline Courtney. Dude…that DOES NOT surprise me at all that she had an affair with Joe Stuart. I once read somewhere that (when she was alive) Jacqueline had affairs with SEVERAL soap opera executives over the years. And, Jacqueline was downright MEAN AS HELL to other soap opera actresses and MOST soap opera actors TRULY HATED working with her because of her snobby, demanding and diva-like ways. Most of all, I wonder if Jeff Giles interviewed Jacqueline’s daughter for his book? Supposedly, Jacqueline’s daughter knows ALL of Jacqueline’s deep, dark secrets. Every last one of ’em!!!!!… Read more »
Well, I do know that for her last P&G contract on AW in the mid 70s she demanded her own dressing room with a toilet- and she got her wish!! This reminds me of how Joan Crawford had her own private toilet in her dressing room at MGM in the 30s, a fact that impressed Greta Garbo during the filming of “Grand Hotel”. George and Jacquie were very seemingly exclusive members of their own club on the AW set, so to speak, and apparently openly critized the work of fellow performers- just one reason why the rest of the cast… Read more »
Avatar, check this out…back in the day, when she was on both Another World and (especially) One Life To Live, Jacqueline Courtney (over the years) did SEVERAL interviews. Interviews openly criticizing and OPENLY BASHING fellow co-stars from AW and OLTL, writers, producers, directors, crew members, etc.. One time, she even did an interview bashing BOTH NBC and (especially) ABC (aka the networks). Well, eventually, Jacqueline was pretty much forced into retirement because NO ONE in the soap opera community wanted to work with her anymore and (after a while) basically EVERYONE got tired of dealing with her. Period. Take care,… Read more »
Avatar…check out these, um, other tidbits about Jacqueline Courtney: 1. When she was on BOTH AW and OLTL, Jacqueline used to annoy and irritate directors with her so-called and “helpful” suggestions. One day, it all reached a boiling point when a now former OLTL directer had enough and TOTALLY WENT OFF on her…including dropping the F-bomb SEVERAL TIMES in front of SEVERAL people on the OLTL set. 2. One time, on the AW set, Jacqueline VERY RUDELY walked into and interrupted a private meeting between some of the AW writers. 3. After a while, cast members from BOTH AW and… Read more »
just finished book great book . thanks .. someone needs to write A tell all book about OLTL the above comments sound juicy . Hey this sound like a drama within a daytime drama I would buy that book in a minute too.
That does not surprise me (at all) that Michael Storm did not like working with Clint Ritchie. Back in the day, on the OLTL set, ONLY Erika Slezak, Robert S. Woods and the late Phil Carey enjoyed working with CR. That was because all 3 of them knew how to deal with him and knew how to keep him in line. As for the rest of the OLTL cast (overall), they all either “cheerfully” tolerated working with CR or they flat-out HATED working with him. Period.
This is a must-read for any OLTL fan. I read it once and am reading it through again. The stories for behind the scenes of 4 decades are so interesting for the fan to read. It is fantastic that Jeff Giles tracked down so many different people from the show for this book. Bravo!
Interviews
Y&R’s Brytni Sarpy Talks On Her Emotional Week of Scenes & The Fallout From Elena and Devon’s Break-Up
Talk about self-sabotage! Over the last few weeks, fans of CBS’ The Young and the Restless have seen how one decision, or moment in time, can have an effect on several residents of Genoa City, such as the case with Elena Dawson (Brytni Sarpy), after she had sex with her colleague Dr. Nate Hastings (Sean Dominic) … at the clinic they work at!
It all starts unraveling for Elena when her fears get the best of her thinking that the current-love-of-her-life, Devon (Bryton James) will fall for the sister of his late wife, Hilary, in the form of Amanda Sinclair (Mishael Morgan). And thus sets the stage for a potential quadrangle, and perhaps … some baby drama?
Since coming to Y&R from General Hospital, actress Brytni Sarpy has been developing the character of Elena and playing her for all she is worth and then some in recent heavy-duty heart-tugging scenes where viewers saw Elena confess to Devon that she cheated on him with his cousin, Nate! Then later, she gets kicked to the curb by the man she loves, leaving her wondering, “What did I just do … and why?”
Well, Michael Fairman TV has some of the answers as we chatted with Brytni to get the lowdown and the insight on these pivotal moments in Elevon’s love story, and if there is even a future for them, or is it on ice for good? Plus, Brytni opens up about falling for her co-star and recent Daytime Emmy winner, Bryton James, and taping what would normally look like a red-hot passionate sex scene on the soaps with Sean Dominic, but having to do it under strict CDC Covid-19 protocols. Here’s what Ms. Sarpy had to say about it all!
Courtesy/CBS
You’ve got this big storyline unfolding now on Y&R. Did you know when they brought on Sean Dominic that they were going to bust up Elena and Devon?
BRYTNI: Yes and no. When Sean was first brought in, there had been another actor playing his role, so technically his character has already been on-screen. So, I didn’t necessarily think it was going to cause any type of conflict, or a love triangle, or anything like that. However, I think that there were little hints about it along the way in the writing, and our characters similarities in both being doctors. The writers are pretty tight-lipped, so I only know things two or three weeks in advance.
Were you playing that Elena had this attraction to Nate for a while now?
BRYTNI: There was a point where I decided to play it, and that is when I felt that it was in the material. It was when things got a little crazier with Amanda coming around and Elena being at the height of her insecurity about that, and her really choosing to only confide in Nate. I think that kind of relationship and comfortability that she was finding and that dynamic of being at the clinic with Nate, and establishing that with him, she was not having with Devon.
Courtesy/CBS
Right, and so do you think once Elena knew Amanda was interested in Nate, she subconsciously stepped up her own interest in him?
BRYTNI: No, I think around this time she was hoping for Amanda to date Nate, and she was asking a lot of questions and things to egg on that whole relationship. I think in her subconscious she really felt like, “Oh good, if I can put these two together, then my fears about this woman who looks exactly like my boyfriend’s dead wife… that resolves that.” I think for Elena it was just kind of putting them together. It wasn’t about Nate. It was about someone to occupy Amanda so that Elena’s insecurities didn’t have to come out and she didn’t have to worry about Devon, or anything with those two being together.
But didn’t Elena have a nightmare/dream about Amanda and Devon having sex? Wasn’t she freaked out about Amanda being Hilary’s sister?
BRYTNI: This was when she had already jumped down the rabbit hole of being insecure about what was going on about Amanda and Devon and how much time they were spending together and hoping that he didn’t fall back into those feelings he had for Hilary that he had just gotten through. For Elena, I think it was a lot of PTSD; for her. She felt the first half of their relationship was trying to get over Hilary. Once it finally turned to a point where Amanda was spending a lot of time with Devon. and she had started only confiding in Nate and not Devon about how she felt, that’s when I think those insecure feelings came up, and her talking about it so much manifested into her dreams, and she set herself up for her own trauma.
Courtesy/CBS
So, you have to do this sex scene amidst Covid-19 protocols with Sean Dominic. How was filming that scene with Sean because Nate looks at Elena, she looks at him, signaling they want to have sex right now, right there at the clinic, and then it cuts out. Was it awkward filming it?
BRYTNI: Yes, it was certainly awkward because his double was Bryton, so it’s hard to play that you’re cheating on a character with the actor who plays the character that you’re cheating on. (Laughs)
We are going to give you the Emmy right there for that! (Laughs)
BRYTNI: Right! (Laughs) Then in some of the scenes we are looking into each other’s eyes, and we appear to be close, but of course we are not that way. So, I am staring up at a mannequin that it is at Sean’s eye-level, and he is staring down at a mannequin that is at mine. It is not easy to try to sell that energy that is between two people in such an electric, heated moment, so it was definitely challenging.
Do you buy Elena’s rationale that they were on a euphoric high from saving Jared’s life at the clinic, as the impetus that leads her and Nate to have sex?
BRYTNI: I don’t think she really understands what happened. I think she is trying to put it together. Right after it happens, she goes into that whole monologue about how, “I’m not blaming you, but this happened, and we were just coming down from a high.” I think it’s just her trying to figure out why her emotions brought her to this place because I think this is one of the few times in someone like Elena’s life when she has acted without thinking or without forethought to the consequences. I think she has just been exhausted with trying to battle her emotions, trying to be a doctor with a residency in a hospital, and then also trying to do as much work as she is doing at a clinic. Then, coming off of an emotionally-charged partnership with Devon after seeing what he was going through with the ghost of Hilary for so long, and going back into this after finally having a calm and peaceful few months, it rocked the whole boat again.
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Viewers have seen what played out over the last week and half, a lot of scenes were you as Elena are called upon to do a lot of breaking down, and crying. So, how are those scenes to perform? Do you like those types of scenes, or are you like, “Oh, God! These are so soapy!”
BRYTNI: For me, personally playing that, I think with all the tears and all of that, it’s been exhausting, because there are certainly levels of reality to this where I have to go for it to not be me just trying to emote on-screen, but actually feel the depths of what my character would be going through. It’s a lot. I’ve had a few migraines after work sometimes, but I do enjoy it. I enjoy getting those emotions out. I think that because of what I’ve established with her character for a little over a year, I’ve been building up Elena, and more importantly, building up her relationship with Devon. I think to understand her actions, it had to come from a really solid place. I don’t think she is ill-intended in any of her emotions. I think she really cares about and wants to protect her partner, Devon throughout all of this, and then she finds herself unprotected and vulnerable in making decisions that inevitably do the complete opposite. So, I think at the end of it, she really is disappointed in herself and also, she has just created this entire disruption of her life in the matter of a moment, and I think there is a lot of mourning, and there is a lot of guilt. I just don’t think that it is intentional of her character to do something like what she did. I think that for me to make it what it was… something that my character would do or did … it had to come from a real place that didn’t sit well with her, and it just happened, and she feels guilt-ridden. It’s as serious as a character attempting to murder someone, or any other kind of character who would go to the extremes of who they are in their characteristics.
Courtesy/CBS
For you, since you are romantically-involved with Bryton James in real life, does that make it harder or easier to play?
BRYTNI: I’d say both. It makes it harder because it’s more real, but it also makes it easier because it’s more real. These are situations that could at some point come up or have come up, and to put yourself in those positions, and to have him look at me the way that he does and to jeopardize something that real, to go to that place, is a dark place to have to portray.
… And then Devon throws her out!
BRYTNI: He does.
Devon tells her to leave the penthouse and he tells her to pack her stuff and go.
BRYTNI: Rightfully so.
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Doesn’t Elena deserve that reaction for her actions?
BRYTNI: I think so. She made a mistake, and she has to learn from it. I think if there is any potential for these two to ever reconcile, there has to be space given, and there has to be understanding. You can’t just pretend like everything is normal even though she is sorry. Sorry isn’t a reason why and sorry isn’t proactive. She has to fix the issue.
They brought Jared (Michael Maclane) back to be the catalyst that was ended up being the spark that ignited Nate and Elena’s passionate moment together at the clinic. What did you think of that plot point?
BRYTNI: The point was actually, that it was a patient who they had invested in and cared about, and she was able to do something for this kid and save his life with someone who she has been leaning on, someone who she has had a shared connection with, someone who shares her perspective, and helped her through situations with Devon, and who has seen her ugly side and her insecure side, and it was a bonding moment, I guess, that they were able to save a kid’s life who they both knew added another layer to their relationship that caused things to go grey.
Coming up, it appears that Amanda is going to be instigating a lot of stuff, and Nate is going to still have feelings for Elena.
BRYTNI: Yeah, I mean, it’s not over. Now that the cat has been let out of the bag, they still have residual feelings. I think Nate is starting to make it very clear why he went the direction he went. I think he has more of an understanding of where his feelings lie and that they are with Elena. I think with Amanda, maybe a part of her ego just got bruised, and maybe she wants to unearth the truth of all of this because she was kind of caught in the middle of it.
When you and Bryton are together in real life, are you rehearsing all of these scenes and playing all of the other characters in them?
BRYTNI: Typically, we run lines together. I have voices for everyone. I have a Nate voice. (Laughs) I have an Amanda voice; I have a Lily (Christel Khalil) voice.
Photo: Sonja Fleming/CBS
You are in one of those interesting situations where you are with the person in real-life and in story. I have talked to Bryton about this, but what was the moment when you knew it clicked with him?
BRYTNI: We certainly liked each other since day one just as people. He was a great scene partner to do a screen-test with, very giving, just really professional, but just a down-to-earth nice guy. Then, just moving forward from that and working with him as my scene partner on Y&R, I think it was during our first group scene, it was the opening of Society, and we did a tribute to Neil Winters (Kristoff St. John), and that was the first time I had spent long hours on a Y&R set. You’re with the whole group all day because you’re doing group scenes. We just discovered and learned that we are both really goofy, and we were just laughing and talking about stories. I think we found that we had a lot more in common than we would have realized… very similar pop-cultural references, and upbringings, and all of that. From there, we’ve just gotten along really well, and it progressed.
Photo: Sonja Fleming/CBS
Back in late June, there was this viral video of you jumping up and down when Bryon’s name was called as the winner of the Outstanding Supporting Actor in a Drama Series during the 47th annual Daytime Emmys telecast. What do you remember of that night with him? You seemed more excited than he was!
BRYTNI: Yeah! I was really excited for him. The year before – well, I didn’t know that it was our first date – but, I guess it was our first date at the 46th Daytime Emmys, because I honestly thought that Matt Kane (publicist, Y&R) had asked me if I wanted to go along, and apparently, Bryton had asked if he could invite me. So, we spent that time together, and he was nominated that year as well and lost. Cut to this year where Bryton is a person who I have actually worked with and have seen how he works, and after Kristoff’s passing, and just seeing the amount of work that Y&R put into it, and the time that they spent on those episodes, and how beautiful they came out, everyone deserved an Emmy for that. It was really beautiful work, and it was really touching, and it was really true and honest. I really thought Bryton deserved it. I think he was just as happy. He’s just more reserved than I am.
What do you want to see happen for Elena moving-forward? Do you want to see more of her extended family pop up so she is a character who has more ties to Genoa City?
BRYTNI: I do, I do. A lot of the characters never know who their father is. I’d love to know who that is. (Laughs) Like when I played Valerie on General Hospital, she didn’t know who her father was either. Things like that are interesting to play. I’d love to start closing those little holes about her because that helps me. It helps me to create more dimensions in her character and to make firmer choices, and give her somewhere to go, and it gives more richness in her story. I would love to also cement her to the Y&R canvas if she has any relation to anyone else there.
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There have been rumors that Elena will become pregnant. What would you say to that?
BRYTNI: What do I think of that? I don’t know. It could happen. Crazier things have happened on soaps. Will it be the classic, “Whodunit?”
You mean, who could be the baby daddy?
BRYTNI: (Laughs) Yes, that would be interesting, and yes, I’ve seen those rumors, too.
Do you think Elena will fight and claw her way back to Devon, or do you think she is going to let it be?
BRYTNI: I think even from the scenes that aired this past week, you can see the extent of how sorry she is. She is laying it all out there, in a puddle of tears, exactly how she feels even though she is not able to really understand why she did what she did, her sorrow is there. I don’t think there is really much more for her to do as far as pleading to get him back until he is ready, if he ever is ready. I think her respecting his wishes in the situation is probably the best thing that she can do at this point.
Photo: IG
Meanwhile, if you have any more romantic scenes with Sean Dominic, Bryton will step in, so you will still be in scenes with him, even if Elena and Devon aren’t together.
BRYTNI: (Laughs) Yes, that’s true!
So, are you rooting for Devon and Elena to get back together quickly? Do you think she may end up in a relationship with Nate? What have you thought of Brytni’s performances in this storyline? Comment below, but first watch Devon tell Elena to move out!
Interviews
Y&R’s Peter Bergman Talks On Dina’s Death & How It Will Impact Jack, His Final Scenes With Marla Adams & Taping During COVID-19
The Abbott family is reeling from the death of their mother, Dina Mergeron, who passed away from complications from Alzheimer’s disease at the end of last Friday’s episode; signaling the end of an era for Dina’s portrayer, Marla Adams. In a pivotal and heart-breaking scene, Dina shares one last goodbye with her children: Traci (Beth Maitland), Ashley (Eileen Davidson) and of course, Jack (Peter Bergman).
Today, the drama continues as the Abbott’s grieve Dina’s death and its aftermath while they remember the life of their flawed mother. This puts Jack at the epicenter of the family, and like it, or not, the new head of the clan. What does the future hold for him now?
Michael Fairman TV chatted with three-time Daytime Emmy winner, Peter Bergman, who has embodied Jack for over 30 years on the top-rated CBS Daytime drama, to get his thoughts on: how Y&R needed to handle Dina’s death within the confines of the coronavirus pandemic and its safety protocols, what he felt about playing those final scenes with Marla Adams and the significance of the ‘teardrop of love’, and a preview of what fans can expect in the coming days as the impact of Dina’s death will be felt by the Abbott children and extended family.
An actor’s actor, you can always expect a conversation with Peter to be forthright, candid and enlightening, and this one was no different. Here’s what one of the genre’s absolute best had to share about the significance of this story and more.
How has it been returning to Y&R during the pandemic? I bet you never thought in all of your years in daytime, that you would be doing your scenes socially-distanced, sitting or standing, so far apart from your castmates.
Courtesy/CBD
PETER: Just getting back to work felt great, loved that. I wasn’t involved really in romantic scenes at this point, so that I didn’t have to do. So, all in all, I was very happy to be back, and socially-distancing didn’t really bother me at all, and then Dina died. Doing that from six feet away was just awful. You saw the limits at a time where not any of us could be within six feet of each other; where you would usually hold a hand, stroke a brow, and talk softly. So, I think the writers did what they needed to do to make it work for Dina’s exit. We are in the middle of COVID, in case anybody forgot, and so you have to ask, ‘Does America really want to watch an elderly woman die in the middle of the Abbott living room or anywhere else?’ So, we had to have Dina’s exit without looking at a dead body, out of respect for the times we are living in. We had to do a strong, powerful, pivotal scene with our hands tied behind our backs.
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It’s so interesting that you say that because that’s how I felt watching it, knowing what it would have been like, if Jack, Ashley and Traci would have been with Dina at her bedside, up till the end, for instance. But all of that said, Peter, I got so choked up in your last moments with Marla. Jack is just sitting there and Dina is telling him how much she loved him and you’re doing the thing that only Peter Bergman can do as the tears well-up in your eyes. As we have talked about previously, my mom died from complications from Alzheimer’s, so these are always tough types of scenes for me to watch. I am sure it was also for those in the audience, who have lost a loved one to this disease, many of whom reached out to me on social media following its airing.
PETER: It’s got to be tough for you to watch. I get that.
Photo: Ed McGowan/Plain Joe Studios
Yes, so I felt for Jack and Dina in the moment as a son and his mother. But what did you think about how the scene was written, and what Dina was saying to Jack and his sisters as her final goodbyes to her children and their reactions to it?
PETER: As written, something in this necklace triggers something in Dina that brings her out of a stupor, brings her out of the murk, the fog for a brief instant to tell the people who she cares the most about that she loves them in slightly different ways. I have, with everything in me, a struggle to always add in there, “I have a complicated relationship with my mother.” I’ve added that line in there so many times over the years, you have no idea. It was a complicated relationship because by the time she dies, there is no kind of straightening that out, there is no kind of Jack looking for answers. The depth of what Ashley is feeling, what Traci is feeling, what Jack is feeling, were kind of lost because of the way we had to do it. The writers had to do it, so I’m not blaming anyone, but because of the way we had to do it, there was no, “Wow, why isn’t Ashley crying? Why is she just so stoic that this isn’t touching her at all?” because she can’t go there. Traci feeling like she found her place in the family simply by Dina saying, “You’re the beating heart of this family,” and Jack, who is doing the right thing, “She should leave peacefully, she should leave feeling loved, we should all be here, we should give her nothing but love,” damn, this is complicated. You couldn’t have any of those things. . Hopefully, some of that slid in there and we wedged some of those complexities into it, but it was hard to write a complex scene with the situation as it was. We needed to get it done it one day. We did not need to drag this out. Again, were it not COVID time, sure, let’s drag it out. Let’s spend some time on this. People die. Let’s watch the family process a death.
Photo: CBS
I just think of what it all means for Jack moving forward. Dina basically tells him, “You’re in charge of the family. Look after the family.” That’s kind of where it’s been going for Jack this whole time. I don’t know if that’s what Jack wanted, but that’s where he is ending up.
PETER: Right! That’s where he ends up, and you know, this has been a long time coming. Dad dies, and it is pretty clear that he’s got to step up, and his mom comes into town, and she’s not just his mother. She’s Ashley’s mother; she’s Traci’s mother, we’ve got to look out for her and give her the dignity and things like that. Now, there is just no getting around it. Jack is the head of the family. That’s the way it fell. Twenty-five years ago, was Jack ready to be head of anything? Absolutely not, but I think enough has happened to Jack now: enough heartache, enough growth, enough introspection, enough losing people, that Jack might just be ready for this job.
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When Marla Adams came back to Y&R 2017, and they started telling the Alzheimer’s storyline, it brought up such abandonment issues for Jack and rightfully so, about how a mother could just leave her family and children, Throughout all that, you did such poignant work.
PETER: I wanted that to be in there at the very end. One of the powerful parts in this whole thing is that Jack wanted to scream at Dina every bit as much as he wanted to hug her. That was there for quite a while, and Jack had to kind of come to terms with, “Hey, you’ve been leaning on this excuse for quite a time. She’s here. She can’t do you any harm. She feels bad about what happened. What do you want, Jack?”
Photo: CBS
One of the highlights of this storyline was when Y&R explored the history and relationship between the siblings, Jack, Ashley and Traci. We saw their younger versions as the show flash-backed to when Dina left John and the Abbott family.
PETER: Between the writers and Peter Bergman, we built this story that the night that Dina left, Dad was upstairs with the girls, they were weeping inconsolably, there was no fixing it, there was no telling them that everything was going to be all right. He didn’t want to lie to them and say she will be right back, he told them, “She’s not coming back,” and he comes downstairs, and Jack is fourteen-years-old, and a little confused, but decided to say to his dad, “Hey, can I help?” He looks across the room, and his dad is weeping, first time he had ever seen that. His father is weeping, and he said, “Jack, you’re going to have to help me with the girls. I can’t do all of this,” and it changed Jack’s life forever. Jack was a parent to Ashley for a good part of their relationship. So, all of this stuff with Jack’s identity, all of the fighting with Ashley, all of the Jabot madness is Ashley finally getting to say, “I don’t need a father! You’re not my father. Stop talking to me like you’re going to fix things for me! I’m sick of it.” All done by Dina … all truly caused by Dina.
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In my interview with Marla, she told me that at the end of her last scene, you and many others came back to the set to pay tribute to her.
PETER: We did. The show had arranged it, and Tony Morina, the executive producer, stepped out on the soundstage with a microphone, and Marla sat on the sofa in the Abbott living room. Tony began telling a lovely, lovely story about how far back his relationship with her goes because Marla and Tony wife’s, Sally Sussman (Ex- head writer, Y&R), also had a long-standing relationship. Tony was just so grand and gracious in saying that there are some people who, if they weren’t an actor, they’d be this or that or the other thing, but that Marla was born to be an actress. That’s what she is, and it was so generous. I think she got three and a half years that she didn’t expect to get out of this. It was supposed to be a six-month storyline, and four years later, she was still there, and it was a good thing for her, and a unique story turn for the rest of us. It really was. It was a powerful thing, and now the Abbott family has a new shape. There are three adults there: Ashley has established her independence, she is not around as much, she is back and forth between Paris, and Genoa City, Traci is trying to be as supportive and kind as she can be, but essentially, Jack is in the big house by himself.
Yep! Well, now we’ve got to find Jack a good woman.
PETER: Yes, or a bad woman.
… Or a bad woman! I’ll take him in a relationship with someone to stir things up. I also hear coming up, there will be the reading of Dina’s will. Is there anything you can tease about that?
PETER: There is a will read, yes. No one knows what to expect, and Dina … in the end… comes through for almost everybody…
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Well … that ought to be good.
PETER: Yep… really comes through for almost everybody, and you know, the Abbott children are wealthier, and all three of them are alone, and in no small thanks to Dina for that. These are three adults who have been very unlucky in love. Of course, this is the next challenge. I don’t mean to assume that I have any idea of what you went through in losing your mom, but there is a point at which you also have to let go and say, “Okay, now it is just me, and what do I want to do with this life? I’ve used this as a reason not to move forward for a good while. What am I going to do now?” I think the next turn in the Jack Abbott story comes pretty organically. Dina’s death frees Jack to be just as alone as he has ever been.
No matter what Jack does, including the bad things, you always see the inner-pain that is very palpable within him, as you have portrayed him.
PETER: Yes, but he really has grown in the last 30 years. Jack is hungry for more right now, and he couldn’t really be that way with Mom in the house. He didn’t have time for that. Now he has all of the time in the world. So, we’ll see what he does with that.
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I understand there is a funeral for Dina, but it will be off-camera? I guess, because of COVID, it is better that way.
PETER: That’s true and it’s off camera, that’s correct. What’s important at most of these things isn’t what happens at the gravesite, it is what happens at the reception afterwards, and that is also a fun turn. So, they all agree as a family they are going to do it at Society, and they kind of close the joint and make it their own little party, and someone shows up who isn’t expected, and it throws a really, really different vibe into the whole thing, and everybody has to adapt. It’s actually fun, what it turns into. It turns into a memory fest with crazy stories of Dina.
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Do you have a favorite moment, or memory, of a scene you played with Marla?
PETER: I think I had a day where Jack tried to get through to her and tell her, “Do you realize the damage you did? Do you realize?” and she wasn’t able to take it in, and he went to Traci, and he said, “I want to shake her. I want to yell at her… and I want to protect her.” I thought there was something just so rich about that. That was my favorite moment, my favorite part of it, when Jack finally said, “She’s going, man. We’ve got to get this conversation done now. We’ve got to talk this through,” and he was too late. She was too far along with Alzheimer’s. She wasn’t up to it. She couldn’t do it.
Photo: JPI
And now here is Jack; and his parents are both gone. There is no Jerry Douglas or Marla Adams on the show as both John and Dina have passed on within the history of The Young and the Restless.
PETER: Again, you were generous enough to share your own personal experience, but isn’t it amazing? Wow, you’re the grownup now. Isn’t it amazing? That’s what the Abbott’s are going through: just what you went through. There is no older generation to turn to for anything. We are the older generation. It’s powerful stuff, and I’m really, really grateful for anytime that Ashley, Jack, and Traci are together talking about those things, talking about, “Wow, okay, that just happened… where do we go from here?” It’s going to be really interesting. If you asked me, “Over the last 30 years that you’ve played Jack Abbott, have there been many times where you’ve thought, ‘I’ve got no idea where this is going!’” I would say, “Yeah, right now.” I’ve got no idea where we are going with this.
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There has been much speculation that the “teardrop of love” necklace will lead Jack to a new romance, or some new adventure in his life. They spent a lot of time mentioning it in short order, that it would seem it’s not just to bring Dina some closure. What are your thoughts on it?
PETER: I think it has legs. I think you’re going to hear about it again. There is something in there, and I don’t know if it’s the teardrop’s magic charm or that its history is not what it was, or it gets stolen. I don’t know, but I think we have spent enough time saying ‘teardrop of love’, that there could be a story there.
In Dina’s final moments where Jack brings her the ‘teardrop of love’, wasn’t it symbolic to her because it was her acknowledgement of having her family back together and with her at all times? There is a back-story to that piece of jewelry as well.
PETER: The point of the necklace is, “This was when I was truly happy, when I had this necklace, when it is all back together,” and maybe we are to know something more about the teardrop…? I don’t know. So, this was a gift to her before Jack was born. She wore it home from the hospital when she brought him home, but we don’t know exactly what year she got it, and we don’t know exactly what year she lost it. It was stolen, and it was on the black market for a while, and Victor (Eric Braeden) was looking into it. It was clear that it was very important to Dina. So, Jack, against his own wishes, said, “No, I’ve got to do the right thing. I’ve got to try to trace this thing down. It clearly means something to her. Maybe she is trying to tell us something. God only knows.” So, he did the right thing, not because, “I want to make Mommy happy,” but because he forced himself to do the right thing, to find the damn necklace, and to see what this is about. Then, we saw the affect it had when he gave it to her.
Photo: CBS
It’s always good to chat and check-in with you during these key and historical moments in the life of the character of Jack Abbott. There have been many throughout your time on Y&R, and it will be interesting to see where this goes from here.
PETER: It will be, and I’m telling you, this is a real moment. Normally, we just go from one story into the next, into the next, and this one has been hanging for so long that, “Okay, now that it is over, wow, what is going to happen to Jack?” I’m just as curious as everybody else.
So, what do you think will happen next for Jack? Did you reach for the hankies in Peter’s final scenes with Marla Adams? Share your thoughts via the comment section below.
Interviews
Marla Adams Talks Her Final Scenes As Dina Mergeron, The Alzheimer’s Storyline, and Her Touching Farewell
Today on The Young and the Restless marks the end of the enduring run of Marla Adams in the role of Dina Mergeron. In story, Dina passes away from complications from Alzheimer’s disease. It’s a storyline that started four years ago when the CBS Daytime drama brought back the character and Adams; and one that has deeply affected many in the viewing audience who have also had their own personal experience of losing a loved one to this dreadful disease.
If you have not seen today’s episode yet, you may not want to read any further, but needless to say, make sure you have the hankies ready for Dina’s final moments with her children and how she leaves this earth, which will be remembered for quite some time to come.
Marla originated the role of the rich and spoiled Abbott matriarch back in 1983 and portrayed the role on and off for what amounts to five decades. Her classic scenes with Jerry Douglas (Ex-John), Eileen Davidson (Ashley) and so many more from the iconic soap, always made for great and complex stories.
With this her final airdate on Y&R, it also puts an exclamation point for Marla on an incredible daytime career having also appeared on: The Bold and the Beautiful. Capitol, Days of our Lives, Generations and The Secret Storm
Michael Fairman TV chatted with Adams in this very special conversation where she shared with us how it was to play these heartbreaking last scenes, the importance of the ‘teardrop of love’ necklace to the story, how Y&R gave her the most overwhelming and beautiful send-off, and her ‘thank you’s’ to all of you, who have been her extended family and are sad to see her go. She is one-of-a-kind …and now, here’s Marla.
Photo: Getty
Marla, I am so glad we have the opportunity to chat in this full-circle moment as you have brought the character of Dina to a close.
MARLA: It’s such a joy to talk to you. It seems like yesterday and an eternity as well. I thought of you so much, and I remember talking to you specifically with all of the different interviews over the years, when I was at the studio. But I will always remember the interview you did with me and Beth Maitland (Traci), my darling soul sister, and you talked to me about your mother who has since passed on from Alzheimer’s. I’ll never forget what you had to say all those months ago
Photo: HallmarkChannel
Yes, and when as audience members we watch these stories unfold with characters we have loved, or watched on our screens for years, and there is a death, we feel connected to them as well. And in this case, as a child who has lost a parent to Alzheimer’s, like many in the audience, you ask yourself first, “Can I watch this?” It hits very close to home, but I’m sure when people watch today’s episode of Y&R and see Dina pass away, they will be extraordinarily moved.
MARLA: Oh, my gosh. Wait until you people see Friday’s show. I know they will be moved. They should be! I’ve got friends who I’ve already said to, “Get your Kleenex box out.” It’s so beautiful what happens at the end of the episode.
Courtesy/CBD
How did you feel about playing Dina’s final scenes?
MARLA: It was wonderful because it showed her lifetime of sorrow and regret, and what was so wonderful was the fact that the hero of the whole thing is the kindness and respect that she really did have for her whole family. They had the most beautiful sendoff for me. They sent me a limo! I went to the studio, and dear Patti Denney (Make-up artist, Y&R) was there, of course with all kinds of makeup and everything else, and she looked like she was entering the ER room for Covid-19, because of all the safety protocols we must have. It was unbelievable, the kindness that was served to me. After we finished taping my final scenes, I came back to the soundstage and they totally surprised me. Dear Tony Morina (executive producer, Y&R) and Sally Sussman (Ex-head writer, Y&R) were there, and Tony spoke about me, and so did my Y&R extended family and on-screen children: Peter Bergman (Jack), and Beth Maitland, and Eileen Davidson, and much of it was put on tape (see excerpts in video below). Afterwards, Tony gave me beautiful flowers. I was driven back home after this, and I felt really special, and it was just amazing to me. I had written Josh Griffith (Current head-writer and co-executive producer, Y&R) a ‘thank you’ for writing the show with his wonderful people, but I never heard back, but when I walked in my apartment, the phone was ringing. Guess who? It’s Josh! He said, “I waited until I knew you would be home to thank you,” and I felt so lovey-doved up, I couldn’t believe it. I want to read something to you that I received in the wonderful flowers that came the next day from CBS Daytime executive Margot Wain and others. The flowers were so big that they didn’t fit on the bar! The card read: “Thank you for bringing the amazing force that is Abbott matriarch, Dina Mergeron to countless fans of The Young and the Restless. Your vast contribution to Y&R and CBS for more than five decades is unparalleled. We are forever grateful for all you’ve brought to Y&R as both a consummate professional and a cherished co-worker. All our best wishes.” I was just so touched by the sentiments.
Photo: CBS
I also want to share something with you. When it was revealed in the promo that came out last week that this would be your last show, I received so many notifications on social media, saying, “Oh, my God! We love Marla! You have to interview her!” You are loved by the Y&R fans. I hope you know that! They’re sad to see you go, because you’re a legacy character to them, and soap fans have deep connections to characters that have been on their favorite soaps for decades.
MARLA: Five decades! My God! I’m eighty-freaking-two. I can’t believe it.
Courtesy/CBS
In story, Jack was on a mission to get the ‘teardrop of love’ necklace back to Dina before she died, hoping that she would have one last moment of lucidity and would recall it and it would hopefully make her happy. He moves heaven on earth to get it, and does, and brings it to her and viewers saw her reaction.
MARLA: The necklace had never been anywhere before in story except recently, but I said to myself that I would play it ‘quietly and graciously’, because it made for such a beautiful moment for Dina with her children.
Courtesy/CBS
For Dina, the necklace was a symbol of remaining connected to her family and her children, even when she was not with them all of those years. In your final scenes, Dina had these moments to say goodbye to each of your children. Do you remember looking at Eileen, Traci, and Peter taping those highly emotional beats?
MARLA: Yes, they were so there for me. They are an extended family that is so precious to me, and playing this iconic character has been, too. I remember when Sally Sussman told me a few years ago, “ I’m going to bring you back on The Young and the Restless, but you’ve got Alzheimer’s,” and I said, ‘What!? You’re bringing me back so you can kill me off?’ and she said, “Oh no, it’ll be about a year.” That dissolved into four years, and now five decades had passed and I was still on Y&R. I am beyond grateful.
Courtesy/CBD
As an actress, was it hard to play Dina’s final moments when she goes to the light to join her beloved, John?
MARLA: It was heart-wrenching for me. In the story, Dina died when she went outside and to the front door of the Abbott home. They did not tell me before-hand, and that’s why it was so wonderful. I hope they came in for a closeup of that because I had no makeup on, it was beautiful, and then, Dina said, “Oh, John.” I’ve done everything from movies, to daytime, to nighttime, to Broadway, but that was the iconic moment for me, to do this gig with wonderful, wonderful actors and friends, and to do this particular storyline.
Photo: CBS
It was 1983 when you first appeared on Y&R. And through the years, Dina did not do such great things! She had an affair with Brent Davis who was the biological father of Ashley that caused such a rift between mother and daughter for years. She abandoned the Abbott children and walked out on them and her marriage to John, and that’s just for starters! Dina was a complicated character. Did you love the fact that she could be very selfish at times?
MARLA: You think? That’s why I loved her. Of course! I can be very selfish, too. You have to be selfish if you’re an actor, good God. (Laughs).
Courtesy/CBS
It was great that The Young and the Restless brought you back four years ago so that through the telling of the Alzheimer’s storyline that Dina was able to somewhat repair her relationships with her children. Obviously, over the last many months the audience could not witness the more day to day progression and toll the disease took on Dina and her family in its final stages, but unfortunately with the way COVID-19 has affected shooting daytime soap operas, and all of our lives, including safety protocols, I am sure plans had to be altered,
MARLA: Of course. As an actress, this was the most important role of my life, and to have her final moments spread out in one day really is because of all of the fans who have been writing in and wanting to see Dina again,
Photo: CBS
People were rooting for you to win the Daytime Emmy back in 2018 when you were nominated for Outstanding Supporting Actress in a Drama Series. That must be a nice moment to carry with you from playing Dina’s final storyline.
MARLA: Yes, and I should have won! Eric Braeden (Victor, Y&R) was furious. (Laughs) He said, “What do you mean, darling, you should have won! Goddammit!” He’s a wonderful man and a good friend. He came to pick me up several times to go to the studio for my last few shows, and that’s the kind of mensch he is. So, I feel just so blessed and I feel great love and loss. I would like Dina to come back as a ghost, but I have no idea, if that will happen or not. But if the fans would be interested in seeing Dina as a ghost … make sure to write in to the show and tell them!
Courtesy/CBS
Speaking of the fans that have followed you for decades on Y&R, what would you want to say to them now that Dina has passed on?
MARLA: Thank you, from the bottom of my heart for all of the love, the support, and the chance to play Dina out… and I’m thankful that you cared, and loved her, up till the end.
So what did you think about Dina’s final moments on today’s Y&R? Will you miss Marla Adams? Share your thoughts via the comment section below. But first check out the special behind the scenes tribute for Marla, followed by The Michael Fairman Channel’s interview with Marla and Beth Maitland from Y&R’s 45th anniversary celebration referred to during the above conversation.
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General HospitalOctober 20, 2020ABC Previews General Hospital’s Halloween Episode
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InterviewsOctober 16, 2020Marla Adams Talks Her Final Scenes As Dina Mergeron, The Alzheimer’s Storyline, and Her Touching Farewell
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InterviewsOctober 25, 2020Y&R’s Brytni Sarpy Talks On Her Emotional Week of Scenes & The Fallout From Elena and Devon’s Break-Up
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General HospitalOctober 18, 2020GH’s Ingo Rademacher Shares Insight With His Son On Parenting & Anger On Maurice Benard’s “State of Mind”
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InterviewsOctober 19, 2020Y&R’s Peter Bergman Talks On Dina’s Death & How It Will Impact Jack, His Final Scenes With Marla Adams & Taping During COVID-19
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As The World TurnsOctober 19, 2020As the World Turns Cast To Perform Virtual Reading Of Final Episode
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Breaking NewsOctober 19, 2020Days of our Lives Returns To Production After Temporary Halt Amid COVID-19
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NewsOctober 17, 2020Y&R Shares ‘Most Memorable Moments Of Dina Mergeron’: What Was Your All-Time Favorite?