Today, Americans still adore lovers who were born to break each other's hearts, like Max Holden and Gabrielle Medina on One Life to Live.  But, unlike audiences who for the past 50 years never saw anyone but Clark Gable play Rhett, fans of OLTL are now getting used to an entirely different Max.

James DePaiva, who created Llanview's answer to Captain Butler, left the show in February.  After an extensive search on both coasts, another actor was recently cast in the role and network executives are hopeful that he will inspire the same passionate enthusiasm as Jim. At stake is not only  the fate of one of  daytime's  most charismatic characters, but also the future of one of the hottest love-hate relationships to captivate viewers since Rhett left Scarlett to face her tomorrow’s alone.

What happens at ABC when an actor as memorable as James DePaiva decides to stop  playing  a character as pivotal as Max Holden?  Not surprisingly,  the scenario that follows is every bit as: compelling-and unpredictable-as the storyline of any soap opera.  According to Jo Ann Emmerich, senior vice president of daytime programs at ABC, when daytime stars leave their shows, it's usually because exciting new opportunities have either arisen or disappeared. "Actors who relish variety sometimes leave because they feel they'd like to try another area of television or films, or because they want a change of pace," she explains.  "But when the network ends a contract, it's usually because story possibilities for the actor's character have become limited.  "

The recent departures of James DePaiva from One Life to Live, and Peter Bergman from All My Children are cases in point. With his first child on the way, and his wife, actress Misty Rowe, determined to give birth in Los Angeles, DePaiva decided several months ago to relinquish the role of Max and pursue new challenges in L.A.  "One Life has been absolutely wonderful for me and my career, but I'd rather be a great actor than just be Max," he says.  "The first thing I'm going to do in L. A. is go back to class at Stella Adler [a leading acting school] and do a play.  I want to explore my potential.  If you're not growing, you're dying-and it's time 1 checked out what else there is for me. " 

For All My Children actor Peter Bergman, however, the decision to terminate his contract was made not by the actor, but by ABC-though not for the reasons cited by much of the news media.  For weeks before and after his departure from AMC, reporters charged that the network had let Bergman go because executives felt uncomfortable with the interracial storyline involving his character, Cliff Warner, and Angie Hubbard, played by Debbi Morgan.  It is an accusation that Emmerich firmly denies.

"We've had interracial storylines on our shows since All My Children set the precedent for them 10 years ago," she notes.  "The real reason Peter left the show was there wasn't any great romantic chemistry between Cliff and Angie, and as a result, the writers couldn't come up with the compelling, center-stage story they deserved.  Peter is a truly fine actor, and having him in the background wouldn't have been good for him or ABC.  "

Instead, she says, the writers shifted their focus to Cliff and his ex-wife Nina (Taylor Miller), whom they had brought back to Pine Valley to help viewers adjust to the temporary absence of Erica Kane (when Susan Lucci was on an extended vacation).  Having Cliff reconcile with Nina not only freed Angie for more interesting storylines, but also gave the star-crossed couple and their longtime fans- the happy ending they had always dreamed about.

But no matter why an actor leaves a role he has made famous, deciding how to handle his departure is one of the most important responsibilities entrusted to the producers and writers of ABC's daytime dramas.  Generally, they agree, three options are open to them: murder (killing off the character); mayhem (creating a storyline where the character disappears); or moving ahead (recasting the part with another actor).  The option selected depends on the character's longevity and popularity, the prominence of his current and projected storylines, and the availability of a credible replacement.

At One Life to Live virtually everyone who worked closely with James DePaiva remembers groaning when they heard the news about his prospective departure.  Jo Ann Emmerich recalls hoping "he would change his mind, since his absence would require the audience to make such a big adjustment.  Executive Producer Paul Rauch says he "did everything I could to keep him.”  But because of the frenetic pace of producing a daytime drama, no one on the staff or in the cast could afford to pin their hopes on negotiations, and they soon turned their attention to devising a storyline that would appeal to viewers whether DePaiva stayed on or left.

"Craig Carlson, the other writers, and I had a number of panic meetings after we got the news," remembers Leah Laiman, co-head writer of OLTL.  "But it turned out to be a blessing in disguise, since it led us to a great story that would work no matter who played Max.  If we hadn't been faced with that dilemma, we never would have thought of this particular storyline.  "

With an intriguing new plot twist in place, there was no reason to kill off the character of Max or write him out of the show.  Executive Producer Rauch decided to recast the role -- an undertaking of some difficulty, since the replacement would be expected to project the same "sexual magnetism, humor, and zest for life" that had distinguished DePaiva's performance.  The strategy was to consider any actor who seemed right for the part, says Rauch.  "We didn't care whether he was already familiar to the audience; I don't believe in casting important actors from other shows just because they're important actors from other shows.  What mattered was finding someone with an essential resemblance to Jim, both in terms of physical appearance and character psychology.  That's very important in recasting, because it's such a jolt to the audience.  It shatters their belief in the character.  Our job is to find the replacement who will be most believable to them."

Felicia Minei Behr, executive producer of All My Children, agrees that credibility is key when recasting an important role in daytime.  "Twenty years ago we didn't respect the audience as much as we do today.  You'd find an actor starting to kiss his leading lady on a Friday, and another actor finishing the same kiss on Monday," she observes with a grin.  "Now we know that we have to make transitions between actors as easy as possible, especially if the character isn't given a rest first."

Like Rauch, Behr is convinced that one method of easing the transition for viewers is to recast an actor who bears some resemblance to his immediate predecessor in the role but isn't his mirror image.  James Storm originated the role of Dr. Larry Wolek on One Life to Live.  When he left the show, he was replaced by his much taller brother Michael, who has now played the part for over 20 years.  But like Rauch, Behr also believes that physical appearance isn't nearly as important as good acting when it comes to making audiences accept a new actor in a popular role.

"Every actor brings so much of his soul to a role that any replacement is bound to make the character different.  For example, when Larry Fleischman played Benny Sago on All My Children, he emphasized the comic aspects of the role.  Vasili Bogazianos on the other hand, brought a vulnerability and depth to Benny that he didn't have before.  He’s more real and more popular."" 

Perhaps the most celebrated case of recasting against type in the history of daytime television at ABC is Judith Light as Karen Wolek on One Life to Live.  Almost overnight, Jo Ann Emmerich recalls, the character "went from being a slightly manipulative, malleable Barbie doll to a Belle du jour with great dramatic depth.  The writers were thrilled with all the new story that an artist like Judith could provide, but it took the audience a little longer to catch up."  Eighteen months later, however, the show was receiving hundreds of letters of praise for Judith every day, and the actress went on to win two Emmys for her portrayal of Karen. 

While some major characters are recast immediately at ABC, others aren't recast at all.  Instead, the door is left open for the actors to return.  The producer creates mayhem by calling for the character to disappear under mysterious circumstances or go off on an extended trip.

When Jack Wagner, the actor who plays Frisco Jones on General Hospital, decided to leave the show, the producers created a story that had Frisco missing in action and presumed dead for two years.  When Wagner returned to the role, Frisco made a daring escape from a Bulgarian prison and reappeared in Port Charles.

At All My Children, Nico and Cecily Kelly recently were sent on a round the world trip when Maurice Benard and Rosa Nevin decided not to renew their contracts.  "Losing them was very difficult, because we had foreseen years of story for Nico and Cecily," says Executive Producer Behr.  "If we could have changed their minds, we would have.  But we were able to wrap up their story in such a way that they can come back.  The door is always open.  "

Keeping the door open is a tradition at AMC.  Characters like Nina Cortlandt and Tad Martin have alternately held center stage and disappeared for long periods.  Often, says Behr, it is the availability of the actor who created a memorable role that determines whether and when the character returns to Pine Valley.  The most recent prodigal son to return was Billy Clyde Tuggle, whose arrival on the scene was occasioned as much by the availability of actor Matthew Cowles, who originated the role, as it was by the demands of the story.  "We never would have done this story if Matthew hadn't been available," explains Behr.  "Billy Clyde always makes sparks fly, and we expect him to be as popular as ever. "

Sometimes, though, the decision to bring back a popular character can result in unexpected problems, says OLTL co-head writer Craig Carlson. "When we brought back the character of Melinda Cramer, we found that there was nothing left for her to do once her story with her sister Dorian was finished.  She had had so much history on the show that it inhibited our ability to make her different." Over the years, both of these roles have been played by different actresses.

Difficult as it may be to recast or write out popular characters, ABC's producers and writers very rarely resort to murder in the wake of an actor's departure from a show.  When they do, says Carlson, it's almost always because the character's death is expected to yield exciting new story possibilities.  "Alicia Grande's death on One Life to Live set up the baby switching story, which in turn opened up other important storylines," he observes. Other characters, like OLTL's Maria Roberts, are so villainous they either "have to be killed or go to jail forever.  But in Maria's case, too, her death created new story for the Buchanans."

Even though deaths on all ABC serials are almost always used to advance the storyline, Behr acknowledges with a laugh that "in daytime, dead isn't always dead.  "She is more somber in recalling the decision at AMC not to recast the roles of Kate Martin and Charles Tyler after the deaths of actors Kay Campbell and Hugh Franklin.  "It was one way of showing our respect for the actors." 

But no matter how a show chooses to deal with the departure of a memorable actor who has played a pivotal role, one thing is clear: The changes that ensue are always interesting. Wonderful things can happen between an actor and the camera," is how Emmerich explains the phenomenon.  Or, as Behr puts it, "Daytime television has the most ensemble casts anywhere in the US.  Every day our actors come in and make magic." 

*Diane Osen is a New York City writer whose passions are sports and soap operas.

It’s you first day of work at a new job, and your boss asked you to find an immediate replacement for one of daytime’s most appealing leading men. What would you do?  If you were Natalie Hart, and you had just signed on as One Life to Live's new casting director, you would very quickly that recasting a role like Max Holden is a quite challenging. 

"Actors who have the looks and personality to play a character like Max aren't easy to find under any circumstances, but it's even more difficult in January, when most of the young leading men of the world are in L. A. working on prime-time pilots," Hart explains. "We had to go beyond the usual routes to find just the right person. "

But going beyond the usual is the norm for Hart and the other members of OLTL casting department, who fill dozens of roles, both large and small, every year. The first step in the process is sending out to agents on both coasts a breakdown of the character they're seeking to cast.  "The breakdown f or Max was very straight forward: I A man who can get away with anything because of his looks and charm; confident, sexy, tons of charisma,' 11 she recalls.  "But we didn't want to rely on the breakdown alone, so we came up with our own lists of prospects for Max and contacted their agents or managers personally. "

On the basis of these lists, and the resumes and pictures submitted by agents, Hart then invited scores of actors to audition in New York. Each was given a scene to study in advance, which he read with an actress engaged specifically for the auditions. Those who passed muster were called back to read for Executive Producer Paul Rauch, and the few who survived his scrutiny were then called back a second time to do a screen test opposite Fiona Hutchison, who plays Max's leading lady, Gabrielle Medina. The screen test ' which was rehearsed, directed, lit and costumed like an actual scene from the show, produced the man who started working as Max a few weeks ago. Audiences have yet to see him on-screen, but Hart is confident they will respond to him immediately. "He may look a little different but like Jim, he really is Max, and he has that same fabulous chemistry with his leading ladies

"I've been closer to Jim than anyone on the show, so talking about his leaving isn't something I relish," says Fiona Hutchison, who played Gabrielle opposite James DePaiva's Max for nearly three years. Perhaps no one is affected more deeply by the departure of a leading man than his leading lady.  But like any professional, Fiona quickly put aside her personal regrets to focus on meeting the new acting challenges that now await her.

"From a professional standpoint it's quite exciting, because my character has been propelled into a great storyline that wouldn't have been possible otherwise," she explains.   Until now, Gabrielle has never had a love affair that was a two way street, but with a changed Max that might change as well.  They might be able to finally put all of the pain of the past behind them. "

Whether or not OLTL writers gratify her wish for a genuinely romantic love story, one thing is certain:  Fans of the show will expect Gabrielle and Max to sustain the sensational chemistry that has always been the hallmark of their relationship.  But Fiona isn't worried; she fully expects to play opposite a "brilliant actor" who will find "fresh nuances in the character, and make him exciting in a new way.  " And she is determined to offer as much help and support as he needs.  On the other hand, though, she doesn't envy her new leading man one bit. "I would hate to see someone else play my part and I would never take on a part that had been played successfully by another actor," she says decisively.  "But then, there is no other role in daytime I would want to play.  I cannot imagine a character with the same range and possibilities as Gabrielle, or one I could identify with as well.  "This is a great canvas to paint on," she adds.  "When I think of all the amazing stuff they've given me to deal with, I could kiss each writer's toes.