The good news is that when assembling the second installment of my day-long interview with Sherry Jackson, I all-too-soon realized that there was no way this was going to end up as a two-parter. So, dear readers, this is the second of three forays into the universe of the prolific Ms. Jackson – holder of TV's ultimate dream resume. The bad news is...well, there is no bad news.
What fascinates me about Sherry Jackson transcends the actress’s mere total recall. In the 1950s, her memories reflect the child – then the teenager and finally the adult woman. Of course, you're saying, that's only natural. But who has had a career like Sherry's? It's an incredible journey – and what intrigues me most are the types she confronts and how she handles them. To capsulize, I look at it this way – certainly in life one confronts skeevy figures (especially in show business) – but comparing recollections, feelings and resolutions made from that of an adolescent to that of the mature grown-up results in a praiseworthy understanding of her strengths as a survivor, player, sometime victim and, finally, triumphant winner in an industry where the game is too often a relentlessly brutal battlefield where a chew-'em-up-and-spit-'em-out “take no prisoners” credo is the standard.
The problem I confronted about this interview was the career itself. How does one excerpt these accomplishments? I decided to instantly conjure up the 1960s most iconic TV images. Immediately – Star Trek, Batman, The Twilight Zone and Lost in Space flashed through my head. I didn't give myself a second chance to backtrack and encompass the loads of sitcoms, westerns, detective shows and variety series. Of the four – Sherry not only appeared in all of them – but arguably in each of the shows’ most celebrated episodes...So there you are. I should note that when I did re-think this scenario – and delved further into the career...it boggled my mind. Iconic is the word that constantly erupts. To give you a brief idea of what I'm talking about, aside from the above aforementioned quartet, there's the classic Disney live-action adventure Swamp Fox with Leslie Nielsen (Sherry also appeared with Nielsen later in the short-lived but well-remembered police drama The New Breed). And Dobie Gillis, Maverick, Rawhide, The Rifleman, Gunsmoke, Perry Mason, 77 Sunset Strip, Hawaiian Eye, Mr. Novak, The Virginian, Wagon Train, My 3 Sons, Gomer Pyle, Surfside 6, The Lieutenant...and so it goes. See my dilemma? Well – onward and upward!
THE TWILIGHT ZONE: The Last Rites of Jeff Myrtlebank. In a nutshell, no one is more shocked by the death of young Jeff Myrtlebank than Jeff himself – who inconveniently pops up out of his coffin during his funeral. As the entire backwoods community shrieks in horror, Myrtlebank – now a “haint” (a human taken over by a spirit part-living, part-dead) weighs his options and victoriously overcomes his affliction, including his romance with Sherry's delectable Comfort Gatewood. One of the eeriest, most unnerving and (as Sherry underlines) funniest episodes in the landmark Rod Serling series, Last Rites was written and directed by Sherry's step-father – the underrated and brilliant Monty Pittman. It was one of five Twilight Zones he directed – all of them classics (the remaining four comprising Two, The Grave [both which he also wrote], Dead Man's Shoes and the all-time fan favorite, Will the Real Martian Please Stand Up?). Serling and Pittman were on the same page so to speak – indeed Serling was particularly drawn to fantasy set in rural countrified terrain laden with superstition and foreboding bayou landscapes. His decision to air the French short An Occurrence at Owl Creek Bridge as a TZ episode bears this out. Pittman's penchant for casting is another aspect of his genius – three of the major characters in the 1961 Western goth spectacular The Grave are Lee Marvin, Strother Martin and Lee Van Cleef. There's no way in...errr...Hell...that John Ford didn't watch this – re-teaming them the following year for The Man Who Shot Liberty Valance. During Serling's wry Myrtlebank wrap-up, he reveals that a haint currently resides in Congress. I told Sherry that this appointment began a tradition and one still remains in the House. “And who would that be?” inquires Ms. Jackson with perfect straightwoman timing. “I'm not mentioning any names, but he cries a lot.”
I really like The Last Rites of Jeff Myrtlebank – although I think I like Two even more – the one with Elizabeth Montgomery and Charles Bronson. Originally Monty wanted me for the Montgomery part, but the execs said I was too young. On each of those shows – the writing, directing – even the editing structure...That's all my step-father. The easy deliberate pacing, the pastoral lyricism, the goose-bump creepiness but still always funny! It’s hard to believe that it was done on a five day shooting schedule – sometimes six days at the most. I'm pretty sure Myrtlebank was five days. My step-father had a very good relationship with Rod Serling...I think Monty directed more than any other director on that series. Serling also admired my step-father's writing abilities. Serling and Monty absolutely had the same sense of humor. I totally believe that my step-father would have become a very successful director...I mean on the big screen. Such a tragedy. He was only 43 when he died. Monty was instrumental in casting as well. He chose actors whom he loved, like Edgar Buchanan and Dub Taylor. He loved James Best too (we worked together three times – he was in Come Next Spring). [Trivia question: How many movies was James Best introduced in? I can think of four: One Way Street, Kansas Raiders, Winchester ’73 (all 1950) and Three on a Couch (1966). Whenever my friends and I see him in a movie or TV show...DVD...he's always referred to as “Hey, look – it's Introducing James Best.”] That’s a good one! (laughs). It was so much fun making [Myrtlebank] because my step-father was so much fun to work with. You get that sense by watching it. Great camaraderie all around. Monty was such a warm-hearted guy – and extremely funny off-camera. And it paid off. He always got the best performances possible from his cast...and crew too. I can see him now on that set – a big cigar in his mouth...joking with everyone...He'd always put his hand in his shirt, and pensively feel around his chest. “I'm checking to make sure...” He was convinced that he was due for a heart attack. Ironically – his heart was fine. Cancer got him. But he'd often stop what he was doing, in went the hand...a pause...then. “OK, let's go. We're good.” He was such a character!
1966 – THE BANNER YEAR
LOST IN SPACE: Space Croppers. The Robinson clan runs afoul of an alien hillbilly family who they hope will help them return home. But their new acquaintances, led by matriarch Mercedes McCambridge and nubile daughter (guess who) are more intent on harvesting a strange and ominous plant form. A wild take on the Clampetts, but with, prophetically, a slight sinister taste of Texas Chainsaw hospitality. Oh, yeah – and there's a werewolf – straight out of the F.A.O. Schwartz Halloween window display.
OK, first off – let me say that Mercedes McCambridge OWNED that set. She was the diva! I was always on my toes around her – I just didn't want her to be mad at me. She commanded respect – and she got it. Mercedes McCambridge was one interesting lady to work with.
That hillbilly outfit that I wore...The costumer who put it on me kept cutting little V-shaped things around the lower area. Let me put it this way: if you were sitting in a chair normally, you could see the cheeks of my butt [and all I was hoping for was an anecdote about the robot!]. Of course you didn't see it in the show, but at the time I was a nervous wreck because I was convinced that the camera was going to pick that up. But any guy who was sitting chair level could definitely see my butt [Danger, Will Robinson!]! I wasn't pleased – and it was too late to do it over...And she kept cutting – and cutting WHILE I had it on! “What are you doing?!” I kept asking. “It's too long – I want to make it sexier.” Throughout that episode on-set I sat crouched down in the chair. I didn't want any one everyone looking up my behind! It made the shoot seem like an eternity, but the whole show was done in six days. If it went seven – even for an hour show – you were in trouble.
BATMAN: The Riddler's False Notion/Death in Slow Motion. More than any other show, this series defined the decade's embracing of pop-art culture. Bearing in mind Sherry's reminiscence of movie-fan/producer Howie Horwitz – this entry might well be Caped Crusader's finest hour, as the clue to the Riddler's diabolical plan lies within the prized silent film collection owned by Francis X. Bushman. Sherry, as the arch-villain's sexy henchbabe, is appropriately christened Pauline and indeed she assists in many a cliffhanging peril for the Dynamic Duo. It doesn't hurt that the wacky proceedings involve Theo Marcuse as autocratic director Erich von Bloheim! The only losers here are the series' ga-zillion fans – perennially wondering why this show has not yet emerged on DVD.
I got that through [producer] Howie Horwitz…He was a big fan of my step-father. He had his own 16MM print of Come Next Spring. He told me he’d run it at least twice a year…He also knew me from my Warner’s TV days. He had done a lot of their big shows like Maverick. He sure picked the right business. He loved the Movies.
Batman was a riot. It was so over-the-top – a total ‘anything goes’ situation. You were actually encouraged to be outrageous. I looked at it as being in a Three Stooges short – which was just fine [not necessarily Larry] by me. We just all over-acted and were silly. So much fun. AND –everybody wanted to be on it. And I mean EVERYBODY. If you were in the industry and had kids – whether they were pre-schoolers or teenagers, it was like “Mom, Dad – you GOTTA be on that show!” So no matter what you did – in front of or behind the camera – if you could manage it, you got on Batman! Maybe just a cut-a-way…or as an extra. It was the hottest ticket in town – they were, as they say, lining up…That’s also how they ended up getting so many high-profile guest stars.
I didn’t have any scenes with Francis X. Bushman or really any interaction with the series regulars [Neil Hamilton, Madge Blake, Alan Napier], but Adam West was a sweetheart – still is! His sidekick, on the other hand, [Burt Ward] was a complete wuss! Always whining, always complaining…He had just gotten married – and his wife was worse. Constantly showing up – and you always knew when she’d arrive. She wore so much damn bling that you could hear her clinging and clunking across the soundstage. “I’M the star’s wife!” she’d announce. “My husband, the STAR…” that sort of stuff. What made the whole thing so strange was that when she caught up with him – she’d treat him like crap in front of everybody! Led him around like he had a ring in his nose. That union didn’t last long. Gee, what a surprise! To the absolutely other extreme – Frank Gorshin was great fun. He did have a case of low self-esteem – and because of that he always pushed himself to be funnier…more innovative. Chained smoked like a furnace, very restless…but I do recall he was always very open to me suggesting additional bits…and he did likewise…We’d work out gags together…He was so clever, very bright…Overall it was a really good experience. And so high camp!
STAR TREK: What Are Little Girls Made Of? If there's one role for which Sherry Jackson is apt to be universally remembered – it is probably her turn as Andrea the android. Even non-Trekkies, when queried about this show, instantly recall an image of this alluring space beauty – often even before the tell-tale visualization of Kirk, Spock, Bones and the rest. It's such an amazing connection that it's astounding she's only in one episode. Unquestionably, Andrea is the most identifiable guest alien in a catalogue of mythic creatures, including Tribbles, Khan and Joan Collins. What could have simply been a slam/dunk galactic hottie impersonation became a challenge to Ms. Jackson, who decided to infuse the character enough human female traits to send her fem-bot half into schizo gasket-blowing turmoil. It's no accident that this is one of the episodes penned by Robert Bloch, author of Psycho and other thrillers dealing with mentally unstable beings. It's a subtle yet startling and overall stunning performance.
I had to go see [Gene] Roddenberry like three times – he was really particular about who he hired, especially in those first episodes. It was still early on in the series. This was the ninth episode. It was so frustrating; I thought, “God – how many interviews do I have to go on with this guy before he's gonna make up his mind?!” Well, when he finally did, he had me in the room with [the series costume designer] Bill Theiss and almost immediately we discussed my outfit. We collaborated on it because – well, you've seen it – we had to! The design was what I call a total cooperation operation…Long discussions on what would or would not work...Do we dare do this – can we get away with that? It was an engineering dream...It depended upon how it hung on my shoulders...how tight it was up my butt...(laughs)...[it is a genuine hydraulic masterpiece that manages to accomplish the impossible: out-peeling Emma Peel!]. I decided on the hip hugger length since that was one of the better parts of my body. And he used this stretch material...It all tethered on the straps going to the back of the costume...pulling it up but all the while keeping the breast parts from going backwards. Every day the straps were custom tightened to make sure they fit right. The part on the side required a censor on the set the whole time because back then they had cleavage guidelines. In the front – OK, but not on the side. So we used STT – that's Shatner Toupee Tape – and pasted the sides shut. Oh, yeah, everyone knew he wore a toupee...it was no big secret. He'd come on the set without his hairpiece; I admit the first time I saw that it was kind of shocking...I don't know if he did that as the series progressed, but, like I said, this was still early-on. Anyway, so we appeased the censor...and I spent the rest of the time trying to 'overcome' my costume – to not let it give the performance. I took the role very seriously. I like to think of myself as the first android who ever acted [“As opposed to the scores of Hollywood androids who don't act,” I quip. “Exactly!” Sherry responds before bursting into laughter]. Truly though – I spent a lot of time figuring out how a half woman/half robot would respond to commands...deal with emotions she had no concept about...So it's a battle – human parts coming through...then abruptly the android half kicks in. Poor Andrea – how sad. I think ultimately that comes across...and that I did it rather well. The actor who played Korby, Michael Strong, was brilliant...and Shatner, was in full New York Method mode, the Broadway star gracing the TV screen. La-de-dah...But he did it in a good-natured way...If you watch him carefully – he's doing the diaphragmatic breathing...the stomach going in and out. He volunteered to show me how to do it...Breathe deeply...hold it...say a chunk of dialogue in a really low voice...Kind of fascinating to watch actually...I remember I told him, “You know, Bill, it’s a shame with all your prep that your outfit - the way you carry yourself...It makes you look really fat. If they made the top a bit longer...I mean it's not in proportion...” In case you haven't guessed from the above story about my Trek outfit – I'm a born designer. I love creating and customizing fashion. Always have. And not just clothing – furniture – you name it...So I'm telling him, “Your shirt definitely needs to be a little longer...and your pants are too short.” He just fluffed it off...Ha-ha. Since I'm 5' 4”, I wore little stacked boots and Bill Theiss and I came up with the idea to make me a slit up the front so that the pants hung to the floor which gave me a more elongated look.
To this day women come up to me and go, “Oooh, you kissed Shatner! Oh my God!! I'd give anything to kiss Shatner!” In regards to that raunchy stuff you hear about - that happened a bit later from when I did the show...Evidently there are tales of big orgies after each show – boldly going where no one had gone before (laughs). All I recall - regarding strict rules and regimen - is that when I first arrived on the set the wardrobe head warned me, “Whatever you do – do not EVER comment on Nimoy's pointy ears!” He completely hated those ears. Who knew it would make him a billion dollars! Probably wouldn't have made him so upset – ya think?
I must mention Ted Cassidy [in the episode as an alien giant]...He was just such so dear! A wonderful big lumbering guy...so funny...Back then if you were that tall – I think he must have been near seven feet – the prognosis was that you wouldn't live long. The heart couldn't handle the body...In the back of my mind, I kept hoping that this wouldn't be the case with Ted. Sadly it was…In retrospect, Star Trek was a terrific adventure. Everyone was extremely gregarious...And it was fun – but the atmosphere was very serious throughout. No goofing around.
One day, during the production of Trek (it was the summer...a hundred and something degrees out), the assistant director comes to me as we were breaking for lunch...He handed me a terrycloth robe to put over my costume. It was just so stifling out, I shook my head. Now I'm near-sighted – and this has actually proved to be an attribute. Because I'm doubly cautious of being aware of the set dimensions, the camera marks...it enhances my sense of peripheral vision...and, as a result, almost instinctively I've never missed my mark…OK, so, like I said, I'm near-sighted. A friend has come to meet me for lunch and we decided to simply walk over to the Paramount commissary for a quick bite. So we walk into the place – it's bustling with activity, talking, laughing, clanging of plates, glasses, silverware. And there I am – not able to see five inches in front of me...And we're standing waiting for a table. All of a sudden – everything stops. Total quiet. The birds stopped singing...The silence, as they say, was deafening. So I look at my friend and say, “WHAT is going on?!” And he calmly replies, “EVERYONE is looking at you!” Now – I'm very shy, incredibly self-conscious. And I say, “Oh God, find us a table quick or get us out of here!” So he stops a waitress and she says, “We're full – there's nothing here, but there is an empty space in the Director's Room.” “We'll take it!” So we go into the Director's Room, and I'm sitting between these two guys. Before I know it, the guy on the left is leaning behind me and whispering loud to the guy on the right, “That's Sam!” I slowly look at the guy on the left, and he's giving the guy on the right a big grin, nod and an A-OK sign. Well, the guy on the left was Blake Edwards, the guy on the right was Craig Stevens – and that's how I got the part of “Samantha” in Gunn.
And it's here that we bid Sherry Jackson farewell (albeit briefly) until the next and final wind-up that throws our heroine into the freakish world of Blake Edwards film noir, Playboy Magazine and AIP!
KEY SHERRY JACKSON WORKS DISCUSSED:
THE TWILIGHT ZONE: The Last Rites of Jeff Myrtlebank. Directed by Montgomery Pittman. w/James Best, SJ, Edgar Buchanan, Dub Taylor. DVD: Image Entertainment.
LOST IN SPACE: Space Croppers. Directed by Sobey Martin. w/Guy Williams, June Lockhart, Billy Mumy, Angela Cartwright, Jonathan Harris, Marta Kristen, Mark Goddard, Mercedes McCambridge, SJ. DVD: CBS/20th Century-Fox Home Entertainment.
BATMAN: The Riddler’s False Notion/Death in Slow Motion. Directed by Charles R. Rondeau. w/Adam West, Burt Ward, Frank Gorshin, Neil Hamilton, Madge Blake, Alan Napier, SJ, Francis X. Bushman, Theo Marcuse, Stafford Repp, Richard Bakalyan, Judy Pace, Walter Woolf King.
STAR TREK: What are Little Girls Made Of?Directed by James Goldstone. w/William Shatner, Leonard Nimoy, SJ, Michael Strong, Majel Barrett, Nichelle Nichols, Ted Cassidy. DVD: CBS/Paramount International Television Home Entertainment.
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