With Dark Shadows starting out on a fledgling network whose daytime lineup struggled to achieve competitive ratings even in the best of circumstances, one has to wonder what good it does for a show that’s only been on the air a few days to have the director actively sabotaging the entire supporting cast.
Dark Shadows director Lela Swift has had Mark Allen, who plays Sam Evans, in her sights since the third week of taping kicked off. That same week George Mitchell, who played Collins estate caretaker Matthew Morgan, had several mishaps during a scene while eating egg whites that came from a nearby greasy spoon. So the next time he was on, Lela took to complaining about him over the control room microphone and in the process cursing him with such an attack of nerves that he couldn’t perform. He was gone by the end of that day’s taping. Now Lela is gunning for lovable Fred Stewart, who makes his Dark Shadows debut as Dr. Reeves, but if she has her way it will be his swan song as well. Her complaints during the taping of this episode become so mean-spirited that she practically turns into a monster.
There can be only one solution to keep Dark Shadows from imploding even before it can complete its first thirteen-week cycle: Swiftenstein must be destroyed!
Continue reading “Episode 17: Swiftenstein Must Be Destroyed!”
In less than twenty-four hours, the return to Collinsport of a driven and vengeful man has had its intended provocative effect on those tied in with the Collins estate and business interests. Fishing fleet and cannery plant manager Bill Malloy is actively concerned, Collins family matriarch Elizabeth Stoddard is stoically unfazed, while restless and venturesome daughter Carolyn Stoddard is recklessly intrigued. It’s a combination that can only hold potentially life-altering consequences for all those involved.
Continue reading “Episode 9: Mischievous Spirits”
One of the charms of these early episodes of Dark Shadows is something I call “scene connectors.” Someone will close out a scene with a phrase or word, like when Joe Haskell asks Burke Devlin what he wants in exchange for what Devlin has offered him, and Devlin answers, “Information.” Then they cut away to the next scene, which begins by someone else taking up that key phrase or word but in a completely different context: “But I can’t give you any information,” Maggie Evans tells Roger Collins. “Pop’s a free soul, you know that. He wanders.” Just minutes ago, Roger, who is not such a free soul, wandered into the coffee shop just before closing time under the pretext of seeing if there’s “any coffee left in the hopper.” But what he really wants to know is where Sam Evans is. You’ll recall that in the previous episode Roger exploded when he realized that Burke Devlin is back in town – and what he needs this late hour is to pin down the whereabouts of a local artist who paints seascapes and sunsets. At this point Roger has something the viewer lacks: information.
Continue reading “Episode 3: Information”