Interview: Trevor St. John, 'One Life to Live'

When all is said and aired, will One Life To Live’s Todd Manning rank as one of the most important characters in daytime-TV history?

In the annals of soap opera, Trevor St. John’s Emmy-worthy performance as convicted rapist Todd Manning is a perfect metaphor for the patriarchal society in which we live.

Soaps are a woman’s medium; and ever since Emmy-winning head writer Michael Malone created the character in 1992, Todd’s reign of terror in Llanview has brutally exposed several hot-button feminist issues.

Even General Hospital’s Luke Spencer, daytime’s most famous rapist, was romanticized for years — instead of being punished for sexually assaulting the “love of his life,” Laura Baldwin. The show opted to ignore the rape and re-coined it as a seduction. Immediately, Luke and Laura captured the imagination of the public. The breakout couple later wed in a ceremony watched by over 30 million viewers.

What makes Todd unique is the fact that the character was sent to jail for his crime, and has been haunted by this defining moment throughout his time on the series.

Originally intended as a short-term character, “frat boy number one,” grew into one of the most fascinating and complex villains of our time. By sheer ignorance, Malone had given the character a seemingly random last name, Manning. The acclaimed novelist later learned Manning was Victor Lord’s mistress’ surname. Years later, it was revealed that Todd was Victor and Irene’s love child. And just like that, a legacy character was born.

One of soaps’ authentic breakout sensations, Thomas “Todd” Manning has been studied in a variety of feminist texts, mainstream magazine articles, and even inspired a doll in originator Roger Howarth’s likeness.

However, this past fall, Todd Manning managed to even shock his greatest detractors. The villain kidnapped his rape victim, the amnesiac and presumed dead Marty Saybrooke, who was healing from a car explosion. In true Manning fashion, “Boomer” neglected to inform Marty that he led her gang rape. In a chilling episode, Todd recounted that fateful night, leaving out the most important fact. Later, the two fell in love and had sex.

Soap pundits dubbed Todd’s latest heinous act the second rape of Marty — and a firestorm of controversy ignited. Viewership rose by 200,000 viewers that week — proving the rapemance was a successful ratings stunt.

However obscene or depraved the riskiest storyline in recent memory was, the fallout has been shockingly riveting — thanks to the fact that head writer Ron Carlivati is playing all the psychological beats of Todd’s self-serving and criminal actions. Nominated for a 2009 Soap Opera Spirit Award as outstanding lead actor, St. John inarguably faced the most challenging assignment of any actor in 2008 — in any genre. And yet, somehow, St. John made it work. In a lesser actor’s hands, the storyline most certainly would have resulted in career suicide for all involved. Which is why, as the mercurial Todd Manning, St. John, a seemingly All-American leading man, is widely considered one of the best recasts in history.

Born in Spokane, Wash., the 37-year-old thespian enrolled in Whitworth College on a jazz scholarship before realizing his passion for acting (he even played jazz percussion with the Count Basie and Duke Ellington Orchestras).

St. John moved to Los Angeles and immediately booked parts in high-profile movies and TV shows. He played a skinhead in John Singleton’s Higher Learning and Glenn Close’s son in Servicing Silence, as well as Kris Kristofferson’s son in Payback opposite Mel Gibson. Regarding working opposite acting legend Close, St. John told Soap Opera Weekly in 2004 that, “working with [her] was like studying acting at Yale for a semester. She was so authentic that it made your job very easy.”

Originally cast as Walker Laurence, the Seattle Mariners fan had no idea he was hired to play one of daytime’s most loved and hated villains. Thanks to the often-overused plastic surgery plot device, Todd was sporting a hot new face.

Recasting Emmy winner Roger Howarth (now Paul Ryan, As The World Turns) was not an easy task, but miraculously One Life managed to top even their original choice as the “prince of darkness.” Interestingly, St. John had once tested for the role of Kevin Buchanan, who had watched Todd rape Marty in 1993.

This past October, Malone told TV Guide.ca that the ABC brass knew immediately St. John was their man. “There was a committee involved in this recast, but during Trevor’s audition, which was extraordinary, we all agreed he was Todd,” recalled Malone. “That kind of unanimous decision is very rare in this business. It was a risky choice, but he really made it work. Trevor is a brilliant, phenomenal actor.”

Critics and fans soon hailed the Virgo’s humorous, cocky and arrogant take on Todd Manning as revolutionary, bold and unique.

TVGuide.ca sat down with the handsome actor to discuss his creative process, the controversial rapemance involving Todd and Marty this past fall, and if he’s thinking of leaving the series in the near future.

TVGuide.ca: Let’s get the big question out of the way: Are you planning on submitting yourself for Emmy consideration this year? I know you haven’t in the past.
Trevor St. John: The reason why I haven’t put my name up for Emmy consideration in the past couple of years is because I had a very negative emotional reaction to the judging process. I did submit my name a few years ago [during Todd’s execution, but failed to make it past the preliminary nomination round]. I didn’t like the feeling of judging my peers’ work. It didn’t feel good. I don’t mind having private judgments about actors, but being expected to score my peers professionally on a piece of paper, well, [I felt uncomfortable]. The other thing I grapple with is, how we in the acting community can fairly judge who the best actor is? I’d rather judge the best performance, not the best actor, because we’re not all playing the same role. Since I couldn’t judge, I felt as if I shouldn’t participate on any level.

TVG: Yes, the Emmy system is unfair. The judging process is handicapped because of that fact. Any bad actor can have two good tapes. Having said that, shut up and put yourself up this year, damn it! It doesn’t hurt. I’d rather you not be nominated knowing you were at least in the running instead of wondering what could have been. 
TSJ: I wouldn’t even know what to submit. [Laughs] I’m not the expert.

TVG: That’s easy. When Todd finds Starr having sex with Cole and almost hits his daughter after beating up Marty’s son. The second tape? Easy. A beaten-up Todd staring in the mirror after his rapemance with Marty was exposed. TSJ: Interesting. TVG: Are they keeping Todd’s “new” scar? I thought that was a poetic nod to history on Ron’s part. TSJ: No, they’re not. I know. It’s too bad. I honestly have no idea why they wouldn’t keep that reminder on Todd’s face. It might be an economical thing. You know it costs to apply that kind of makeup each day.

TVG: We could permanently give you a scar! [Laughs] When did you realize you were a slave to acting? Your performances look effortless. TSJ: I wanted to be a baseball player for most of my childhood. I wasn’t a class clown, by any means, but I did notice I had a natural inclination towards understanding human behavior at an early age. I’ve always exhibited a sixth sense, especially when it came to human nature. Once, I remember watching TV with my father, and saying to him: “Dad, this isn’t right… that’s not how people act in real life. What are these actors doing? Why are they staring at each other?  Why are they whispering to each other at the end of a line? Why aren’t the characters funnier in this [dire] situation like in real life? Why are these actors being so melodramatic about everything?” So, I announced, rather arrogantly, that I could do this better than these people! I know… how that sounds, but it’s the truth. And I wasn’t even referring to soap stars — I was talking about movie stars when I was eight years old!

In college, I auditioned for a Shakespeare play, which I enjoyed immensely, I thought why not give acting a shot because I am a fan of Shakespeare. I booked the lead of Orlando in As You Like It. And that was my a-ha moment. The applause didn’t hurt, either. It’s human nature to enjoy applause. I’d be lying if I said otherwise, but the playfulness and freedom of the experience appealed to me very much.

TVG: Roger Howarth won an Emmy for playing Todd. Then, you came along and blew everyone’s minds with your unique interpretation. You play Todd like the monster he is — without any judgment, which is rare in the soap world. Your decision to infuse humour in the dark role was genius.
TSJ: There’s no strategy. I feel the moment is by far the most interesting thing, and the only thing worth exploring. I think what you’re seeing is a non-interpretive performance. Todd is already written on the page, so it’s my job to bring him to life in that moment. The answer is in the question. I don’t think in terms of evilness, goodness or vulnerability. This is the line, and this is how I feel, so I act it without analyzing it to death. I may cry, I may be quiet, I may throw something, and I may be loud. I prefer the audience to interpret the character, which is what they don’t teach you in acting class. Teachers tell you to interpret the character. I disagree. A character exists irrespective of how an actor plays the role. I know it’s an unusual way to approach acting.

TVG: When I was on set last summer I was lucky to catch you taping. You never played a scene the same way. Also, you were having a lot of fun on set. It was akin to watching a master class in soap acting. Everyone on One Life who I speak to reveres your acting, by the way.
TSJ: I guess that’s what happens when you live in the moment. The idea that you give yourself play space to act is something I personally require on stage. I’m touched that my fellow actors revere my acting because I rarely receive feedback from them. I’m extremely blessed to be working opposite a group of really talented actors.

TVG: Before taking on the part, did you watch any of Roger’s work?
TSJ: They wanted me to watch about 15 episodes because the producers expected me to play Todd like Roger. This was before I started shooting. I watched two episodes but I never tried to mimic Roger’s style. As an actor, that’s ridiculous. I needed to get a sense of who Todd was first, and that has to happen organically. I don’t care if Marlon Brando played the role before me. An actor shoots himself in the foot when you try to play a part like another actor. It’s awful — and very limiting and very uncreative.

TVG: Like Marlon Brando, you make dysfunction and insanity sexy.
TSJ: [Laughs] I like that! I’ll take that.

TVG: One of Roger’s pet peeves was when fans would yell out, “Rape me, Todd,” at personal appearances. Thanks to your portrayal, fans don’t feel that way; however, fans and critics all have crushes on you, not the character. That’s the big difference in your portrayals. Let’s talk about the rapemance. When you heard about Todd and Marty falling in love what did you think?
TSJ: I wish I could give you a clear answer. I’ll repeat myself from what I said earlier about my acting process, or lack thereof — I just thought: “OK, that’s what we’re doing, so let’s do it.” What’s interesting is I still have no idea if Todd loves Marty or not. I really don’t. I decided not make that determination. I decided to leave it to the audience. Maybe Todd loves her in certain moments. Maybe in other moments, Todd just says he does. I played it like a high school crush. I thought it would be more fascinating if Todd was walking around as a contradiction in terms of his feelings for Marty. Sometimes it was put-on, and other times, it was Todd thinking: “You’d be a better man if you loved this woman. You should love this woman.” Other times, Marty would smile at Todd, or they’d play the piano, and Todd would decide he should be in love with her in that moment. It was always fluctuating and evolving.

TVG: That was a smart and effective choice because I doubt Todd knows what love is. Also, falling in love with Marty conveniently afforded him a free pass from raping her all those years ago. Has Todd ever been in love before?
TSJ: I would say, no. I think it’s far more interesting if the answer is no. Then, it creates something unattainable for Todd to be searching for — even if he isn’t aware that he wants and needs to be loved.

TVG: I don’t think you can love anyone if you don’t love yourself, and Todd clearly doesn’t.
TSJ: That’s absolutely right. Self-hatred is certainly Todd’s primary emotion.

TVG: You and Susan Haskell [Marty] share an enormous amount of chemistry. Had you played the role when Todd gang-raped her, do you think this story would resonate or play out any differently than it has? TSJ: It’s hard to say, but it’s a good question. It’s hard to know. If I had played the physicality of Todd holding her arms down and gagging her as he raped her all those years ago… even though it was just acting… I don’t know if that would have influenced my portrayal. If I had to venture an answer, I would say, probably not so much. Perhaps it would have augmented my performance opposite Susan a bit, since we would have shared that history and experience. TVG: What’s it like working with Susan? TSJ: I’m enjoying it! First, Susan’s a great mother. She has her head screwed on right. She’s not the stereotypical actress who is a flighty flake. Family is her No. 1 priority. Secondly, she’s extremely talented. I can throw things at her, and she throws them right back to me. From an acting standpoint, performing with Susan is very playful. I’m enjoying our scenes. She’s not afraid to make a fool out of herself, and in that respect, we subscribe to the same school of thought.

TVG: Susan is one of the best actresses in the business. I was, however, shocked that Susan decided not to play any visceral reaction to her rapist touching, kissing and making love to her, even despite her amnesia. Of course, when Marty learned the truth she unleashed a fury rarely ever seen on daytime.
TSJ: I wasn’t the least shocked by Susan’s outstanding performances, but I was surprised that Marty didn’t experience any inner conflict after she found out the truth. It was rather black and white. I missed some of the shows so perhaps they wrote some inner conflict for Marty when Todd was absent.

TVG: They lightly touched on it.
TSJ: Obviously, [head writer] Ron Carlivati is drawing Marty’s inner conflict out now. That was probably the strategy from the writers’ standpoint.

TVG: Some of the best soap actors add subtext to the dialogue despite what’s written. I don’t believe in an actor hijacking a script, unless, of course, Dena Higley is penning your show. You certainly understand subtext brilliantly, especially when Todd flirts with men. Todd has absolutely no boundaries.
TSJ:. Comparing Ron Carlivati to Dena Higley though is like comparing Barack Obama to George Bush! [Laughs] 

TVG: [laughs] That’s hilarious! And, very true.
TSJ: Regarding Todd’s lack of boundaries, I agree. As far as I’m concerned, Todd could be bisexual. I have no idea.

TVG: Todd clearly has issues with women, sexuality and power. In that respect, Todd is fast becoming the most important and enduring character in the history of soaps.
TSJ: When people ask: “Would Todd ever kill anyone or hit Starr or Blair,” I always answer, “sure.” If I say no, then I’m limiting the character. Todd is a marvelous character to play because he could commit genocide, or find a cure for AIDS. He’s full of possibilities — good and bad. Who knows what someone is truly capable of? Who’s to say that Todd isn’t attracted to one of Starr’s friends, or Starr herself, even? What if Todd wants to kill Viki in one moment? See, as an actor that always gives you conflict to play — and that subtext enriches a performance.

TVG: I love your chemistry with Michael Easton [John]. On the surface it’s an interesting paradigm and contradiction because you traditionally look like the white knight, and Michael resembles the villain. TSJ: I think they really hate each other; yet, there’s a mutual understanding between them because [they’re the opposite sides of the same coin]. All the differences between them are superficial. It’s a realistic rivalry. It’s not necessarily emotional. There’s a knight in shining armor hidden underneath Todd, and a bastard lurking inside John. Michael’s a really good friend of mine. We spend a lot of time together with our wives. He’s a brilliant and fantastic man. Michael understands story structure better than anyone I know. We often try to work what we know about the art of story in our scenes together. We try to find as much humour as we can when John and Todd are together.

Fans always mention the scenes in which Todd and John go on a road trip together to look for Sam. The producers and writers hated what we were doing as actors. But in our defense, there was nothing else we could do. The writers wanted two people “stuck” in a car who dislike each other and were constantly at odds and adversarial with each other. In our minds, that didn’t make sense because if they hated each other that much, Todd and John had every opportunity to leave that situation and drive separately. So, you see, we had to play it that way. Both characters seemingly wanted to be in the car with each other; so as actors, we had no choice but to play it with humour and hint that they actually might, in some dark and sick way, enjoy each other’s company. Todd could have easily reached for the door and left. John didn’t have a gun pointed at Todd’s head. As actors, it’s our job to translate what’s on the page. It’s too bad the writers didn’t like it, because the fans did.

Having said that, I give props to Ron for turning around this show with his incomparable talents and affection for the show. He’s taking risks and I really appreciate him for that because I’m a risk taker, too. He’s really courageous.

TVG: Would you ever consider leaving One Life, because you could easily make it out in Hollywood. You already have an impressive resumé most actors would kill for. I don’t know what it is about you and Michael Easton, but every three months there are rumours you are leaving the soap.
TSJ:  I’m not leaving the show. My contract expires in 2010.

TVG: Whew. You’re an unconventional actor — are you surprised that you are a soap star?
TSJ: I don’t think of myself as a soap star, to be honest. I guess, I am technically. I’ve always assumed I’m a B-level soap star. I’m no Anthony Geary [Luke, GH] or Maurice Benard [Sonny, GH]. Or even one of those cats on All My Children. For years, I avoided soap work because of the stigma attached. Now, there is less of a stigma. You have movie stars doing commercials and starring on TV shows. I’m happy to be a working actor in New York City. I wasn’t booking many theatre roles before One Life, so I thought, why not? And this character isn’t a stereotypical soap role.

I have my hands in other arenas, so that keeps me creatively fulfilled on many levels. I'm filming a new Wes Craven movie right now. Playing different roles keep me sane. [Moreover], I produced a short film, The Art of Getting Over It, in which I also starred in and wrote. Dan Gauthier [ex-Kevin] directed the movie, which premièred last weekend in New York City. I’m proud of the film and even prouder that I made it with my family and a dear friend. The experience was one of the biggest thrills of my life. TVG: The Art of Getting Over It sounds like the perfect mantra for Todd Manning to adopt in 2009.

 

 

 

Want to dish the soaps with Nelson Branco? Join The Suds Report discussion group today on Facebook.com.

Nelson Branco is a Toronto freelance entertainment journalist, who regularly contributes to Hello! Canada, The National Post, The Los Angeles Times' theenvelope.com, TV Guide USA, tvguide.com, Inside Entertainment, OUT, and fab magazine, along with spearheading the soap coverage for TVGuide.ca's popular daytime TV hub. After graduating from Ryerson University in 1997, he moved from Toronto to New York in 1998 to take on the roles as senior news editor at Soap Opera Update. Branco first freelanced for Soap Opera Weekly as an intern in 1994, and after leaving Soap Update to help create and launch Bauer Publishing's In Touch Weekly in 2003, Branco continued to freelance occasionally for its sister publication, Soaps In Depth. Most recently, he helped create and launch Canada's first celebrity magazine, Weekly Scoop in 2005 as its news and entertainment director. Branco is also a contributor to a new TV show titled Planet Soap to air in Canada and America.