When Carol Mendelsohn and Charles Pratt Jr. took over the reins as executive producers of "Melrose Place" at the end of the 1997-98 season, they knew the job would entail more than just supervising the writing staff and ensuring there would be a sufficient number of cleavage close-ups.
     Once the crown jewel of Fox's Monday night lineup, the steamy soap had fallen on hard times, ranking 80th in the Nielsen ratings among all prime-time series last season after a peak of 58th in 1996-97, and was in dire need of a make-over.
     So the duo--both veteran "Melrose" writers--knew that if the show was to once again generate water-cooler buzz, they would have to shake things up a bit.
     "When we went to Fox and proposed some of our ideas, we were getting strong input from the executives about changes for 'Melrose,' " Pratt says from his office on Fox's Century City lot. "I mean, [Fox Entertainment President] Peter Roth, who's juggling like 80,000 shows, was talking about getting 'Melrose' back to its roots. He was really passionate about the show."
     Roth isn't alone. Whether you love it or loathe it--or pretend to loathe it and watch anyway--there's no denying that "Melrose Place" has carved a niche for itself into the pop cultural zeitgeist with a sharp stiletto heel.
     A volatile blend of romantic chicanery and heavy-breathing sex-capades has endeared it to legions of Monday night loyalists, who have made the show one of the longest-running series in Fox's history.
     As "Melrose" begins its seventh season tonight, it's starting to show signs of encroaching middle age. Confusing plot lines, defecting cast members and uninspired scripts have all contributed to the show's steady ratings decline. Which is why Mendelsohn and Pratt--who are replacing former executive producer Frank South--are trying to bring "Melrose" back to its core strengths.
     "I think the show's been slipping for a number of reasons," says Pratt. "Our stories were too convoluted. We found that people get more excited about what's going on in the characters' heads and their bedrooms, not [about] car chases. Also, we've had major cast changes for the past two years, and the audience had to keep reacquainting itself with new characters."
     Indeed, the show has been a kind of clearing house for good-looking actors as of late, with 15 cast changes in the past three seasons. So, in addition to dumping some of the plot contrivances of seasons past, Pratt and Mendelsohn will stick with a nucleus of seven characters, which they hope will tighten the show's focus.
     "The challenge in the past few years was trying to make all the new characters fit in," Pratt says. "Now we're exploring characters who we thought we knew everything about, and it's been a lot of fun."
     Returning cast members Heather Locklear, Rob Estes, Thomas Calabro, Jack Wagner, Jamie Luner, and Kelly Rutherford will be joined by original cast member Josie Bissett, who sat out last season to make TV movies. Returning cast member Alyssa Milano will also appear in at least eight episodes.
     "We're all excited, 'cause it's like a new show," says Bissett. "I think people are gonna get into it like they used to."
     According to Pratt and Mendelsohn, Bissett and the other "Melrose" cast members will have significant creative input for the first time in the show's history.
     "We met with each of the actors individually and found that a lot of them had real issues they wanted to discuss, but it had been forbidden," says Pratt. "It was sort of 'hit your marks and say your lines,' which is a bad philosophy for any show. We've got the most experienced actors remaining, and if they're more interested, they perform better."
     Show veteran Locklear, whose real-life pregnancy last season led to limited screen time, will once again become the show's tempestuous fulcrum. "Because Heather was pregnant, she didn't get the screen time we wanted her to have," says Pratt. "This year, Amanda's more of the show's center. She holds all the secrets.'
     The show's overall tone will get a healthy tweak, as well, particularly its recent penchant for gratuitous, nudge-wink yuks. "We're taking huge steps to avoid the kind of humor that winks at the audience, because it really takes you out of the show," says Mendelsohn. " 'Melrose's' humor always works best when it's coming from the characters in an organic way."
     Of course, all the changes will be for naught unless the newly improved "Melrose Place" attracts a larger audience. While Fox's strategy of rolling out new episodes in the summer months has worked for them in the past, Pratt and Mendelsohn are skeptical.
     "If Fox gives us a big promotional push, we'll do OK," Pratt says. "I just wonder if people are willing to watch TV on Monday nights during the summer when they could be out doing other things. We're crossing our fingers that they do."