“Don’t touch me! Let his eyes tell me what to do!”
It must have been hard, over the last several years, to always play the good girl on a show increasingly inhabited by loud ladies. Kathryn Leigh Scott started out on Dark Shadows as waitress Maggie Evans, who was originally supposed to be a tough cookie, but mellowed fairly quickly into the sweet girl next door, and stayed there.
The show’s writing team turned over several times, early on — from Art Wallace to Francis Swann to Ron Sproat and Malcolm Malmorstein, in less than six months — and when the writers change rapidly on a soap opera, you’d better have a really firm grip on your character, or you risk drifting into just playing a version of yourself. That’s what happened to Roger, who started out as a villain and got himself nerfed all the way into harmless gay uncle. Maggie was a cynical young woman taking care of her alcoholic dad, but those rough edges got sanded off clean by the time Barnabas emerged from the mystery box.
And then Julia happened — a high camp trickster, whose priorities are finding her light, getting her hands in the shot, inventing facial expressions and paying attention to other actors, in that order. She was the pioneer loud lady on Dark Shadows, establishing a no-holds-barred theatrical style that chased all the nice girls off the stage.
In 1795, other actresses got to be louder and crazier — witch-vixen Angelique, obviously, and angry Aunt Abigail, and the eternally teetering Millicent. After a while, loud lady became the default setting for new characters — Eve and Magda and Judith and Jenny and Laura and Minerva and Charity Trask, all of them strutting and scheming and getting into fights on the regular.
But Kathryn Leigh Scott was stuck in the nice girl persona — the kidnapped Maggie, the spellbound Josette, the innocent Rachel. She’s spent the last two years being upstaged by one vixen after another. And then there’s Kitty.