Y&R: All My Afternoons

This entry is about the Young & the Restless chapter of All My Afternoons a 1979 book by Annie Gilbert on soap operas.

This chapter begins with a comment about how there is a paperback novel, an A.M. radio hit single and a record album for Y&R. (I wonder if anyone has any of these items.) There is also a mention of blue windbreakers that the cast was given. Y&R is compared to Dark Shadows being a soap opera cult. They go into detail over the shows success, young cast, high production values and the show isn't flat.

The book then starts quoting Y&R creator Bill Bell. There is a reference to how when Bill was still writing long term for Days of Our Lives, and wrote scripts and story for Y&R, he was working 16 hour days, 6-7 days a week. Now that's dedication to his work.

Bill then goes into the conception of the show with the Brooks girls and how they contrasted with one another. Then he explains about the Fosters and how Snapper and Greg were to be inspirational to men. There are many pictures of the actors who play these characters in this chapter. Basically he wanted characters who were "wholesome, identifiable, appealing - in situations and stories that reflected a segment of contemporary life."

The next section is called "Casting the soaps" and goes into detail about how people are cast and what shows look for at this time John Conboy was the executive producer of Y&R. He is quoted and mentions how actors have to have "personal charisma" and that the need to be able to get that out on camera. Harding Lemay wanted "…I want to see where they're leading me, and then I write for that quality, build on it to let it come out." Then they go into the specifics of some recasts. When David Hasselhoff was hired to play Snapper, after William Gray Espy decided to leave, he was the last person they saw. They auditioned 175 people. According to the book, Guiding Light auditioned 286 people when looking to recast Leslie Jackson Bauer, which was in 1971 (looked that up elsewhere as the year wasn't listed in the book.) They also explain how the shows have to deal with not "jolting" the audience when there is a recast and sometimes create stories to cover the change. They give the example of James Storm to Michael Storm as Larry Wolek and how the character had plastic surgery. Basically, the shows need to find people that fit in that the viewers like whether it is a brand new character or a recast.

The next section is called "Some Soapy Subjects: Breast Cancer and Rape." They have an interview with Dorothy Green who played Jennifer Brooks. The character died of a heart condition, though not of that disease. She talks about her initial feelings "less than thrilled" and it is mentioned that her real husband died of cancer. Dorothy said it was "difficult", but if the story saved at least one person it was worth it. A mini-documentary of the story was also made. They have an interview with Trish Stewart who played Chris Brooks, who talks about Chris's rape and how later her sister Peggy (Pamela Peters) also was sexually attacked by a stranger. Seemingly this was done, because the show received mail that people blamed Chris for what happened to her. There was one episode where Chris explained what happened to her, where she read an article with facts and statistics to give the audience more information.

The next two sections are about the character of Brad Elliot and the actor who played him, Tom Hallick. Brad Elliot Arrives in Genoa City gives a short summary of the character along with pictures. Brad was a doctor who ended up leaving Chicago due to a bad operation that killed his child. On the way out of town, he ended up being robbed and beaten. He hitched a ride and ended up getting to Genoa City. Stuart Brooks took a shine to him, and hired him for the newspaper. Eventually Brad fell in love with Leslie and got married. The second section entitled "The Dragon Who Turned into a Prince" was written by Tom. He talks about how he auditioned for Y&R, had never done a serial before and explains the dragon is his first role as a six-year old. In his opinion, Y&R the best show on daytime television. He also writes about fan mail including the different types he got, and how he would answer requests. At that time, Y&R aired in Tokyo, Manila, Singapore, the Philippines, Australia and Yugoslavia. He mentions a golf tournament in North Carolina and how he was mobbed. His shirt was torn from his back and he had pen marks on his chest. He ends it with "I suppose I've become a sex symbol of sorts. If that's what people think I am, fine, there's nothing wrong with that.

The last section is "The Job of the Producer: Making Soap". This basically is an interview with John Conboy and references his right hand Patricia Wenig. It explains how he started as a production assistant at a NY soap. Then goes into detail about some things that nowadays aren't even possible. For example, there is a lamp in the foreground and if they pay more attention to the lamp they stop the scene to get the lamp off set and tape it again. If things are going well, the producer doesn't have to do much of anything, though they are responsible for "putting together a unit of people and seeing they do the best job they can. We're responsible for everyone who is involved in the product of the show, from stagehands to actors." Later it mentions how John bums a cigarette from Pat and they are both smoking in the control room. Fan mail is mentioned and how they got about 1500 letters per month. Another thing that is different than today, was after the actors finished taping one episode, the cast went to the rehearsal hall to do a read-through of the next show. Conboy would watch and then edit the script, once that was done, the actors go on the floor and start rehearsing for tomorrow with the director as Conboy goes back to his office. He mentions how he used to direct, but couldn't deal with the producer, so he worked to get that position. There is also a quote from him about program practices aka the censors. What is funny is that the censor would sit and watch a run-through, and then "it gets crazy, so they end up bargaining." They would for example say "I'll give you three damns for two hells." Sometimes having to do that would hurt the intensity of the scene.