A family drama works things out

THE producers behind ABC’s “Brothers & Sisters” aim to tell the tale of a loving but troubled Los Angeles clan beset by adultery, financial chicanery and unhealed rifts between parents and their adult children, among other woes.

No matter how deeply they plumb their dramatic imaginations, though, they may have a hard time topping the internal strife that permeated the set and the writers’ room as the nighttime soap painfully found its footing. Before its Sept. 24 premiere, casting changes, reshoots and behind-the-scenes feuds seemed to spell doom for “Brothers & Sisters.”

Some observers predicted a sped-up version of last year’s “Commander in Chief” fiasco, in which the ABC White House drama, starring Geena Davis, went through a series of creative overseers throughout the season before its ultimate collapse.

“All of the problems seemed to me almost insurmountable,” said Jon Robin Baitz, the veteran playwright who created “Brothers & Sisters.”

But in the sort of unlikely twist you might see on an episode of the drama, “Brothers & Sisters,” the show that could be thought of as a “thirtysomething” for the post-Sept. 11 era, hasn’t failed; in fact, it’s hung on to become a surprisingly resilient part of ABC’s female-skewing Sunday night lineup.

Although it’s nowhere near the hit that “Grey’s Anatomy” was in that same 10 p.m. slot last season, “Brothers & Sisters” is averaging about 13.2 million total viewers, according to figures from Nielsen Media Research, and seems to have built a loyal if not enormous fan base that sticks around after “Desperate Housewives.” This is particularly significant given that both CBS and NBC rejiggered their Sunday lineups this season and are much more competitive on that night than they have been in years. ABC executives last month ordered more episodes that will guarantee “Brothers & Sisters” at least a full first season -- a critical hurdle for any new show.

Equally important, the producers say, is that the series has finally found its way creatively.

In that respect, “Brothers & Sisters” could serve as a reminder to trigger-happy networks that even when faced with a deeply troubled show, sometimes it pays to, well, stay the course. Baitz’s labor of love benefited from unstinting network support, not to mention a key assist from a veteran producer of family fare who just happened to be available when needed most.

“Brothers & Sisters” also benefits from standing apart from the pack of complicated, “serialized” dramas, such as “Smith,” “Six Degrees” and “Kidnapped,” that have swept prime time this season and, at least so far, fizzled with viewers.

What ABC had in mind was a traditional, character-driven domestic drama, albeit with a contemporary feel. The ensemble’s lead character, Calista Flockhart’s Kitty, is a right-wing talk host who struggles with her family’s conflicting views on terrorism and the U.S. wars in the Mideast. Softly lighted montages of family dinners and other happier events are spiked with songs by KT Tunstall and other pop artists.

“We were looking to do a family show, but our version of a family show,” said ABC entertainment chief Steve McPherson.

Ken Olin, an actor-turned-director who played Michael on “thirtysomething” and serves as an executive producer on “Brothers & Sisters,” said: “It’s been a while since there’s been a show that people could watch and relate to on an intimate level. There is no high concept here.... I don’t think any of us think this is groundbreaking.”

Groundbreaking or not, constructing the show proved difficult. After the pilot was shot last spring, Oscar winner Sally Field replaced Betty Buckley in the key role as the steely matriarch of the large brood, which includes three adult sons and two strong-willed daughters played by Flockhart (returning to episodic TV for the first time since “Ally McBeal”) and Rachel Griffiths (“Six Feet Under”).

The original pilot was scrapped. “As soon as Sally was recast in the role, it was apparent the pilot needed to be reshot,” Olin said. Unfortunately, that meant a finished cut of “Brothers & Sisters” wouldn’t be available until late August, long after word of mouth had built on other shows.

(Olin praised Buckley as an actress but said her interpretation of the maternal role was too “quirky” and not a good fit with the cast members playing her kids. Field, producers thought, was a warmer presence. Buckley could not be reached for comment.)

In the meantime, Baitz was -- by his own account -- having problems adjusting to his new job. He admits now he simply didn’t know how to plan an entire television series on a weekly basis. Initially he kept his gnawing self-doubts private, but he grew overwhelmed trying to accommodate suggestions from the studio, Touchstone, and ABC executives. “I believed I was wrong more often than I believed I was right,” he said.

Marti Noxon, a highly regarded writer and producer who worked on “Buffy the Vampire Slayer,” had been hired to oversee the show’s day-to-day creative affairs. But she clashed with Olin and Baitz, who, according to sources familiar with the situation, pressed to add more humorous elements to leaven the more serious plot points. Noxon favored keeping the focus on the drama.

“Marti was having a very hard time realizing what Robbie’s voice was,” Olin said. (Noxon said “no comment” when asked whether she would like to respond.)

The dysfunctional low point came when Noxon abruptly exited in early August, resulting in unflattering headlines that predicted the show’s demise would be imminent.

“The press was sort of barraging us with mustard gas attacks,” said Baitz.

As grim as the situation might have seemed to outsiders, however, the producers had a couple of important advantages. McPherson remained a strong backer of the show, which meant ABC would exert some patience.

Encouragement also came from an unexpected source: writer-producer Greg Berlanti, whose “Everwood,” a family drama for the WB Network, had been canceled at the end of last season. Touchstone, which had a development deal with Berlanti, asked if he’d help out for a week after Noxon left; he’s still there and has no plans to leave, he said.

Berlanti gave Baitz a crash course in laying out story lines and churning out scripts for episodic TV. He agreed that the show needed more humor. Berlanti also urged the writers to develop stories around three major characters -- Field’s mother and the daughters played by Flockhart and Griffiths -- rather than try to follow eight or nine family members simultaneously.

If “Brothers & Sisters” ends up less about brothers than sisters, it’s no accident. The producers understand the need for a female sensibility given the time slot. “The network has a clear demo with ‘Desperate Housewives,’ ” Berlanti said, “and we need to pay attention to it in designing stories.”

Berlanti said much more work remained to be done. For his part, Baitz is relieved and proud of his determination to see his creation weather a seemingly endless bout of crises. In that respect, he sounds much like a family member who’s finally emerged after a dark period of loss, such as death or divorce.

“I decided never to give up, so I’d know if it failed, it hadn’t been because I’d backed away from it,” he said.

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The Channel Island column runs every Monday in Calendar. Scott Collins’ television blog of the same name is at latimes.com/channelisland. Contact him at channelisland@latimes.com.