Behind the Scenes: “They Care as Much About Soaps as We Do”

Marlena says: When I first started writing the “Critical Condition” column in Soap Opera Weekly in 1989, I hoped reader reactions to my opinions would be strong, and I wasn’t disappointed. So early on I decided to make anybody who wrote to me my friend, either by personal reply or later by making you my Facebooks friends.  I’ve made many, many lasting friendships both nationally and internationally, some for many decades.

Early on I heard from a very sweet fan named Vince Morasco and we discovered that, in addition to loving soaps, we were fellow Italians.  Vince and I started going to the yearly feast of San Gennaro on the Lower East Side, filling our faces with sausages and cannoli as we exchanged opinions on soaps.  Vince was about to go to work backstage at “One Life to Live,” so there was plenty to talk about.

All these years later, I’m proud to introduce Vince (who remembers more of what I’ve written than I do sometimes) as a new contributor to this site.  In this, his first column, he’s talking about his years at “OLTL.” He makes some great observations about the way soaps work and how much those who make them care about their shows just as much as the fans do.  On the way, you’ll find such names as the show’s one-time controversial executive producer Jill Farren Phelps and such beloved performers as Robert S. Woods (Bo) and Erika Slezak (Viki). 

Do write and tell me what you think of Vince’s first column.  As Marlena has written often lately, soap fans are the best friends, and I hope along with me you will welcome Vince to “Marlena De Lacroix: Soaps for the Thinking Fan.”

By Vince Marasco

I grew up watching soap operas the way some people watch sports — completely invested in every storyline, every plot twist, and every cliffhanger.  I knew the characters of my favorite soaps as well as I knew my own family.  I admired the writers for their creativity, the producers for assembling the shows so seamlessly, and the actors for bringing it all to life.  I would often imagine my own storylines and plot twists, carefully documenting them in what became my personal “soap bible” for years.  What I never could have imagined, especially as a shy, insecure kid, was that one day I would step out from behind the screen and become part of that world myself.

Being a guy, I watched soaps in secret.  I didn’t dare tell my friends.  How would my buddies react?  They certainly wouldn’t think it was cool, and at the very least, they probably wouldn’t understand.  As I got older, I started reading the soap magazines – also in secret.  In college, I would go into town every Friday afternoon and buy my favorite one, Soap Opera Weekly.  I would always ask for a bag so that no one would see me carrying it on the way back to campus, and I would find a quiet corner of the library to read it – from cover to cover!  I loved everything about it — the in-depth analyses of the industry, the intelligent critiques, detailed ratings information, large photos, and the overall sophistication of the publication.

My favorite column was “Critical Condition” by Marlena De Lacroix.  What an intelligent, classy, honest, and thought-provoking column!  I was so inspired by the quality of the journalism that I did something I had never done before. I wrote Marlena a fan letter.  Much to my surprise, she responded!  That meant the world to me.  What began with that letter grew into a friendship that has now lasted more than twenty-five years, built on our shared love of soaps, and our Italian heritage.  I sincerely thank Connie (a.k.a. Marlena) for our friendship, and for inviting me to contribute to her column.  It is truly a dream come true!

Another dream come true came during my senior year of college.  Fortunately, I finally had the good sense to step out of my soap “shell” and admit to someone that I was a soap fan.  That person was my advisor and dramatic writing professor at SUNY New Paltz.  She became a true mentor, helping me recognize that I might actually have some writing potential.  As it turned out, she was also a soap fan herself—something I only discovered after “coming out” to her about my soap watching.  Even better, she had a connection at ABC Daytime.  She encouraged me to apply for an internship there, explaining that it was one of the best ways to get your foot in the door.  That advice ultimately led me to an internship at “One Life to Live.”

What started as a lifelong obsession turned into one of the most amazing and rewarding experiences of my life.  I was probably too young and naïve to really appreciate how fortunate I was at that time, but I certainly realize it now.  There is something truly magical about seeing the inner workings of a world you once only experienced as a fan.  You quickly learn how complex it all is, and how hard everyone works behind the scenes.  It is not glamorous by any means, but every day is interesting, challenging, and exciting.  Adding to that excitement was the fact that one of my favorite Head Writers, Claire Labine, was there when I started, and one of my favorite Executive Producers, Jill Farren Phelps, would soon be coming on board.  Ms. Labine co-created one of my all-time favorite shows, “Ryan’s Hope,” and wrote some of the most inspiring and memorable storylines on “General Hospital.”  Ms. Phelps had created pure magic on another favorite of mine, “Santa Barbara,” which led me to follow her work on “Guiding Light” and “Another World”— two shows I had never previously watched, but ones that quickly hooked me thanks to her creativity and excellent production values.  In every sense of the word, I was living a dream!

Unfortunately, my shyness at the time kept me from fully expressing to these amazing people how much I appreciated them, and how lucky — and thrilled — I was to be there.  Perhaps it was obvious, but either way, everyone was incredibly gracious and supportive.  I was given the opportunity to observe in the booth, the editing room, and even on set.  Watching the directors and crew work their magic in record time was fascinating, and I learned how each episode was carefully and painstakingly assembled.  It truly was a structured, well-oiled machine — one that depended entirely on teamwork.

Admittedly, I was not a regular “OLTL” viewer at the time.  However, I was familiar with the cast, and meeting that incredibly talented group of actors was pure joy.  Bob Woods always had me laughing, and Erika Slezak was every bit as classy and professional as I had imagined.  Kassie DePaiva and Gina Tognoni were consistently warm, friendly, and supportive.  I especially loved running lines with Robin Strasser and Wortham Krimmer — what genuine, intelligent, and caring people.  Kale Brown, Timothy Gibbs, John Bolger, and Don Jeffcoat were true class acts and simply extraordinary human beings.

It was a dynamic time to be there, as the show was undergoing a major transformation.  After several rocky years, Phelps arrived with a clear mandate: to revitalize the series with faster-paced, higher-stakes storytelling — something she had successfully accomplished on her previous shows.  While some longtime viewers needed time to adjust to the changes, the shift brought renewed energy and drew more people in, with audiences becoming increasingly invested in the show.  Years of rotating Head Writers and Executive Producers had left behind remnants of different creative eras — elements that were either underused or no longer quite fit the canvas.  Phelps streamlined the cast, sharpened the creative vision, and elevated the overall look, feel, and sound of the show, shaping it into a more compelling drama.  The results spoke for themselves: ratings in key demos rose, and the show earned a well-deserved Emmy nomination for the first time in fifteen years. The show would finally win the Emmy for the first time in 2002.

I was also extremely fortunate to observe and learn from several key people behind-the-scenes.  Frank Valentini (then-Supervising Producer) was dedicated, hands-on, and made it all look so easy.  Mary O’Leary (Producer) was always positive, incredibly meticulous, and truly one of the kindest people you could meet.  Owen Renfroe (Director) often took the time to explain things to me, which I greatly appreciated. The stage managers, office staff and writers taught me so much, and worked tirelessly every single day.  Being able to witness their professionalism and dedication up close was an experience I will always value.

One of the most meaningful realizations for me in going from fan to fixture was discovering that the same sense of family I admired on screen truly existed behind the scenes.  Creating these shows can be just as addictive as watching them, and everyone involved is every bit as passionate as the fans.  They do it out of love, and with a constant drive for excellence.  And, when something doesn’t quite hit the mark, they are aware of it just as much as we are, and work hard to make it right.  Everyone owns a piece of the magic and takes great pride in it.  That magic — and that pride — spread to the fans as well.  It is what keeps us tuning in through the highs and the lows, and it is why we care so deeply about our shows.

Thanks again to Connie for giving me the opportunity to share one of the highlights of my life on this platform.  I am excited to connect with you all, and look forward to occasionally sharing more about my love of soaps and some of the wonderful experiences that have come with it.