Tag: Thayer David

Episode 64: Terror at Collinsport

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Some Dark Shadows fans wonder why it is that when the actor recast for Sam Evans makes his debut in episode 35 there is a special announcement over the opening theme but there is none for when Thayer David takes over as Matthew Morgan as of episode 38. In retrospect, given Thayer David’s stature as an actor, and especially that he is beloved by Dark Shadows fans, it would seem like quite an oversight, a blooper even.

 

The reason has more to do with each given character’s place in the overall story. In Shadows on the Wall, Sam Evans is given space in the introductory character sketches – within the profile for Margaret Evans, but nonetheless there is ample length devoted to the complexities of Sam’s moods and character, not to mention his place as a peripheral but key figure in the Burke Devlin story, while on the other hand the occasional presence of the Collinwood caretaker as created for the TV series appears to fulfill more of a functional role. At least that was how the first incarnation was utilized: drama and menace for Vicki’s introduction to the basement; a source of background information on the Collins family and Devlin when Vicki was asking about any possible connections with Bangor the Collinses may have had; or a narrative function where Matthew would report to Mrs. Stoddard and describe the scene of Roger’s accident.

 

Yet for the second instance in the past two weeks, Thayer David’s Matthew Morgan is at the forefront while making things happen and also for the second time in two weeks is appearing in back-to-back episodes – something that did not occur with George Mitchell’s Matthew Morgan. With the big change between the two incarnations having been to sacrifice the Bill Malloy character for a murder mystery, it would be reasonable to assume that Matthew must in some way have been responsible for Malloy’s death, unless one is willing to consider what Matthew did with Malloy’s body when it had washed up that night at Widow’s Hill normal.

 

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Episode 54: They Float Bodies, Don’t They?

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“Good eve – uh, good afternoon ladies and gentlemen… No, that isn’t it either. Good afternoon ladies and shut-ins.”

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“From yesterday afternoon’s half-hour, we found out something rather shocking about the Collins family’s gem of a caretaker. Personally, from what I’ve been able to observe thus far, being the caretaker of Collinwood is more akin to being a zookeeper. Half the people living there think of the big house as a sort of cage anyway, and with certain members of the household there is the greatest difficulty in keeping their behavior and drives in check. As with wild animals, tensions exist which are liable to flare up at any moment.”

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“However, today’s television playlet concerns itself with the motivations of the caretaker himself, who, when a friend of the family has drowned and washes ashore on the great estate, sees nothing wrong in giving him a push back into the water so that said friend may wash ashore somewhere else, or perhaps not at all.”

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“Given Matthew the caretaker’s casual admission of such an act, even when questioned by the police, today’s play is called “They Float Bodies, Don’t They?”. Because that’s what a caretaker at Collinwood does; trim the hedges, carry the firewood, and float bodies that have washed ashore back out to sea where they can hopefully never be found. Now, if only someone could do that with my dreaded sponsors, I would never again have to suffer through another commercial break. In the meantime, I shall consult with the production crew and see if Matthew the caretaker is available for immediate employment. Until then, another sponsor with yet another commercial message is just about to wash ashore.”

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Episode 53: Our Caretaker’s a Real Gem

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“Oh, good eve – or rather, good afternoon.”

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“My sense of time has been somewhat confused of late, what with an apparent influence from my nighttime program having taken hold here in this particular half-hour of daytime television. Naturally I find this little known fact most flattering.”

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“I was about to select a wine for today’s story.”

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“As you can see, I’m selecting from three varieties, as I’m quite unaccustomed to partaking in the late afternoon. After all, my brand of subject matter is so much better suited to the later part of the evening.”

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“Today’s teleplay presents a rather compelling story built on the themes of trust and loyalty put to the test in the face of suspicion. The more entertaining scenes are centered around a mischievous young boy, and an even more mischievous grown-up caretaker.”

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“To help this fledgling daytime program along in its evolution of adopting the style of story content seen much later on most of those other stations, I’ve even brought along one of my sponsors. After the opening theme, you will as always be subjected to that inevitable minute with the sponsor, but fortunately the one I’ve brought you this afternoon goes considerably well with whatever it is you happen to be drinking. Which reminds me, I have now selected a wine…”

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“…and I shall just leave you to your allotted minute with the sponsor, so that you may select whichever type of drink you find is best suited for this next half-hour.”

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Episode 51: The Mind Plays Tricks

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David had warned Vicki and Carolyn what they would find if they ventured back out to Widow’s Hill that night: death.

 

With David’s favorite new hobby being crystal ball gazing, his penchant as a misfortune teller is proving disturbingly accurate.

 

Running back to Collinwood in a fit of hysterics, Vicki and Carolyn are certain of what they saw: a dead man at the bottom of the cliff.

 

Accompanied by caretaker Matthew Morgan, Mrs. Stoddard eventually journeys out to the edge of Widow’s Hill and at first isn’t sure of what she sees along the rocks below.

 

Before long Vicki and Carolyn can no longer be certain of what they saw.

 

As the mystery surrounding Bill Malloy’s disappearance deepens, the only thing one can be certain of at this point on Dark Shadows is that there’s really nothing one can be certain of.

 

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Episode 38: The Count of Monte Devlin

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The Wikipedia page for Dark Shadows links the nineteenth century novel The Count of Monte Cristo with the story of Burke Devlin:

Burke Devlin’s Revenge For His Manslaughter Conviction, episode 1 to 201.

The accompanying citation, with something one would typically expect from all things Wikipedia, provides erroneous information:

“In episode 28, Burke Devlin is seen reading this novel. It similarity to events is commented upon i.e. a man returning to his home town to wreak revenge.”

They’re only off by ten episodes; and “it” should be “its” and “home town” is one word.

Now that we’ve done the necessary proofreading, let’s examine the more probable origins of the story of Burke Devlin, one of the main driving forces behind the beginnings of Dark Shadows.

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Episode 36: The David Ford Effect

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The addition of David Ford as the new Sam Evans has had an immediate and energizing effect on fellow Dark Shadows cast members, most notably with Louis Edmonds’ performance as Roger Collins.

 

Fresh off the Hartford Stage in a year-long run as Big Daddy in Cat on a Hot Tin Roof, David Ford’s distinctly dramatic infusion of Tennessee Williams into his portrayal of Sam Evans has awakened a theatrical spirit in those among the cast who already had a strong background on the live stage.

 

Louis Edmonds for one got his start as a New York stage actor, working in regional theater and Off-Broadway before finally breaking through with a Broadway production of Candide in 1956. To work alongside an actor like David Ford must have been like going home, because he’s absolutely on fire in this episode, giving one of his best ever performances as Roger Collins, scene after scene.

 

Hereafter, when auditioning actors for new roles or as replacements for existing characters, the casting department will more and more be looking to New York City and regional theater for talent.

 

The arrival of David Ford represents a watershed moment on Dark Shadows, where fairly tame and ordinary melodrama has the potential to achieve the heights of high drama. This initial transformation will eventually pave the way for the casting of a certain Shakespearean actor in the role of a vampire.

 

But that’s months off still and, as yet, something unforeseen. One thing follows another, but only by chance – that’s the magic that made the run of the series one of a kind, and why Dark Shadows could only happen once.

 

For now, “the David Ford effect” is getting the production crew of Dark Shadows to rethink the show’s approach to acting and where they should be looking for the talent to add that extra spark and make scenes more riveting, with the actors themselves pulling out all the stops to move things up a notch by adding a more theatrical sense of drama to their performances beginning with today’s episode, making the pages of dialogue seem more alive and bringing to the character portrayals that one extra layer of fullness and depth.

 

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Episode 29: Mechanics Made Easy, Pt. 2

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“What are you supposed to be, a doorstop?”

 

If the ancient proverb about the truth setting one free is to be believed, then Collins family matriarch Elizabeth Stoddard has walled herself up in a fortress of mind so sheltered as to block out any and all illuminating rays of reason.

 

The very minute Vicki had come to her with the story that she’d found the missing brake valve from Roger’s car in a dresser drawer in David’s room while she’d been searching for a letter from the foundling home she thought he might have taken from her room, Mrs. Stoddard has continually turned her back on the probable truth – that her nephew may indeed be guilty of having committed an unspeakable act. Her first reaction was, “I… I don’t believe you.”

 

Carolyn, on the other hand, didn’t need much convincing, largely for two reasons. On an adventurous whim, she had gone into town that day to drop in and visit Burke Devlin in his hotel room. She had also insisted that at the end of the visit he drive her back to Collinwood, believing that if she could bring Burke and his mother and uncle Roger together they could work out their differences and the cloud of tension that had been hovering over Collinwood in recent days could be dispelled. Another motivation may have had something to with that despite her involvement and apparent engagement to Joe Haskell, Carolyn seems to be developing something of a crush on the mysterious Mr. Devlin. So, if it turns out that Burke may not be guilty of having tampered with the brakes on Roger’s car, then it means she will no longer have to be carrying the guilt of having made it possible in bringing him to Collinwood. That’s reason number one. Reason number two has to do with the fact that she thinks of her cousin David as a little monster anyway.

 

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Episode 16: The Curse of Lela Swift

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Long before Angelique made her debut on Dark Shadows, the summer of 1966 had its own witchy presence on the show in the first few weeks – in the form of director Lela Swift, who, with just a few spellbinding words spoken through a control room microphone, could make a supporting actor so nervous that he wouldn’t be able to perform his scenes effectively. He might even be forced to leave the show. It seems no one could escape the curse of Lela Swift.

 

Since the third week of taping, she has been on a verbal rampage leveled at supporting cast members that she can’t stand. In her war of attrition waged through her weapon of choice, the control room microphone, there will be collateral damage, where the innocent are made to be casualties, and in this episode it will be George Mitchell, the originator of the Matthew Morgan role.

 

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