The Dye is Recast
Let's make it crystal clear from the outset that I find recasting a necessary evil of daytime television. Unlike primetime television series that very rarely make it past ten seasons and have much stricter contracts, you can not expect to hold onto an actor for ten, fifteen, twenty, or even thirty years in daytime. Recasting is sometimes a must. In situations of unexpected exits like Melissa Reeves from Days or injuries like Beth Elhers on Guiding Light, if for just a short period of time or long term, sometimes there must be replacements. And sometimes recasts are incredibly successful. I mean how many of you know that Don Hastings was not the first Bob Hughes on As the World Turns? Or that Genie Francis wasn't the first Laura on General Hospital? Recasts are often not just necessity; sometimes they are better than the original.
But let's face it, every recast, even if it is a fabulous actor, is going to be a struggle. There will always be someone who doesn't like the recast. There is always at least one. Unless the part was very minor, that actor has to work hard to be accepted in a role that already has a familiar face. I spoke with a woman who still prefers Gillian Spencer as Victoria Lord on One Life to Live. There are people that have never accepted Martha Byrne as the Lily recast; that is what every actor is facing when they step into a familiar role. It makes it very hard to improve upon a characterization unless it was previously poor.
That said, lately recasts have been very hit and miss and often, they are not only are they not a necessity, they actually drag the quality of the show down. There really is very little mystery as to why more recasts are misses instead of hits and it wouldn't take much to fix the problems, once they are identified.
I know many would assume the biggest problem is the talent of the actors involved, but I disagree. While that is no doubt important, more important is the writing. Writing is what makes or breaks a recast IMO. If the writing for the character is strong, consistent, and three dimensional, even pretty green actors can survive. But if the writing is completely of character, shallow, contrived, and ridiculous, even the strongest actors will not be able to make anything out of it.
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