Six's mum recalls what it was like to work on “Blossom”
—by Chris Bartlett

Chris: Did you always know you had a talent of fast-talking, or did you find out because you were required to do it for “Blossom?”

Edwards: Interestingly enough, I played a character named Dot who was perpetually late for work and, as a defense mechanism, would rattle off endless excuses for why she was late. Though, the fast-talking really developed on “Blossom.” Jenna actually talks that fast when she wants, but it takes me a lot of repetitions and a good night's sleep for all those words to flow out—kinda like a piano piece that you don't have to think about.

Of all the scenes you did in “Blossom,” which one was your favorite? I can't help remembering the one where you and Six tore the principal of Six's school to shreds.

Yeah, I liked that one, too. My favorite was “Who Killed Chico Barranca” in which Blossom and Six were caught shoplifting.

How long were you in the “Blossom” series?

Three years, I think?

Was it a surprise to you, what happened to your character and how the character developed? Do you know if there was a general plan for the running story line, or did it develop over the years? At one point it almost looked like your character would maybe marry Nick Russo, though I'm not sure how the story line would have held.

What writers look for is the longevity in an idea; hence, I think that's why the
romantic flair between Ted and me didn't come to fruition. I have a suspicion that the producers were out to capture an even younger audience by introducing younger talent. If you're familiar with the show's storyline, you'll see how Nick's new relationship provided a vehicle to introduce that younger talent.

Are you, or did you, become a fan of “Blossom” in general? Did you watch all the episodes regardless of whether or not you had a hand in making them?

Actually, I haven't watched many of the shows. I know it sounds jaded, but that's what happens. I probably taped over 130 episodes of “It's a Living” and maybe watched half of them.

As you weren't in all the episodes, how much advance warning did you get of appearances?

About two weeks, and I would never receive the script early. Witt/Thomas doesn't give out scripts early. They like to see what you do as an actor during the cold reading. The actors, writers, and producers all sit around a large table as the actors read through the script for the first time. This gives the producers a good feel for what works and what doesn't. In short, they either laugh or they don't, and then make the appropriate changes.

Did you usually work with all the actors or mainly with the ones closest to your character?

I worked closely with Jenna and Ted.

How did you find Jenna?

I love Jenna. She is extremely talented, warm, and friendly. She treated me like true family.

What is Ted Wass like as a person; do you know how he was cast?

Ted is a sweetheart and a great director. Initially, “Blossom” was scripted much differently. My close friend, Barrie Youngfellow [“Jan” of “It's a Living”], played Mayim's mother, and I believe someone else played her father in an entire different setting. From what I understand, the network was happy with “Blossom” but not with the show's premise. So, in revamping the show, amongst other changes, Ted, who had previously worked for Witt/Thomas on “Soap,” was cast as Nick Russo, a single parent.

Were you sad when “Blossom” ended, or were you pleased it had ended and not been canceled like so many other shows are?

To answer honestly, I was sad when “Blossom” ended because so did my employment on the show.

Was the relationship between the cast strong? Do you still keep in touch with the other actors?

I still keep in touch with Jenna and Ted.

Did contracts for the “Blossom” show allow acting in other things in between shows?

Certainly. In fact, on two occasions, I taped “Blossom” during the same week I taped “Full House.” This was possible due to “Full House” taping on Thursdays and “Blossom” taping on Fridays. I drove back and forth from Warner Bros. to Sunset/Gower sometimes twice a day to accommodate both shows.

What was the atmosphere on the set of “Blossom,” considering it often had a live audience?

A live audience adds tension. However, it's usually a good tension—especially when doing comedy. Everyone was very professional and friendly.

What was the timing of filming, like how long did it take to make an episode.

Writers work on the scripts on and off for months. Once the script arrives, it takes a week to shoot. Here's a thumbnail sketch of a typical workweek. On day one, we do a cold reading then “block” the first act, meaning to put the dialogue on its feet, rehearsing with the director, moving around the set, etc. At 5:00, we do a run-through for the producers/writers. On day two, we receive a revised script and begin blocking the second act. The first act is cleaned up and, again, we do a run-through at 5:00. This is a major rewrite night for the writers. On day three, we receive the script's final rewrite. We do a final table reading—working through any changes in the acts. The director finishes his notes on camera moves and angles. Day four is camera-blocking day. This is a technical day. Camera, lighting, and audio are rehearsed on this day. And on day five, we tape two shows in front of live audiences.

We know Mayim got into acting when her parents wrote to a producer, but there are many different ways people get into acting. How did you get into acting?

Oh, boy. I did tons of theater growing up. I'm what they call a “triple-threat.” I act, sing, and dance. I did a lot of all three in every theatrical presentation you can think of. After college, I went on to New York where a very powerful manager [LeMond/Zetter] saw me performing. Once I signed with them, I was able to obtain good representation (agents) and began proving myself via auditions. Later, I moved to Los Angeles and the rest, as they say, is history.

How would you advise people to get into acting?

There's a real misconception about an actor's life. Only a chosen few will ever look back at their career and feel fulfilled. It's a ruthless, impersonal business that people love to see you fail in. And now, to answer your question, ANYWAY THEY CAN!

Would you jump at a chance to do a followup film to “Blossom?”

You bet! Actors love to act.

What's the next thing we can see you appearing in?

Reruns for now. I moved from Los Angeles in ‘94, which, for the most part, has taken me out of the running for many of the new shows. But the biz is unpredictable. Much of my work has been handed to me. Steven Spielberg offered me the female lead in his first “Amazing Stories” episode, Martha Williamson recently asked me to guest star on “Touched By An Angel,” and, back in 1990, Don Reo, sitting on a beach in Hawaii, thought of me to fill the role of Sharon Lemure on “Blossom.” Therefore, it's hard to say, but as soon as I know, I'll drop you a line. Okay?

Internet Question:
I once read that your “fast-talking” scenes with Jenna von Oy were amongst the funniest bits on TV. Actually, I think the quote read, “The funniest 60 seconds in sitcom history.“ So, why weren't either of you nominated for an Emmy? Or were you? I loved it when you appeared on the show!  —Magee R., Provo, UT

Those were my most favorite and challenging roles to do. Jenna and I could have been submitted for Emmys via our agents, but whether we were or not, I really don't know. It would have been a good idea to coordinate that with Jenna. Ah, hindsight is always 20/20.

Thanks for your question and where did you read that quote?