For more than ten years, daytime television fans believed one chapter of soap opera history had quietly closed. Erika Slezak—the woman whose name is synonymous

with the golden age of American soaps—had stepped away from the genre after One Life to Live ended in 2012. Her retirement felt final, dignified, and deeply deserved

after decades of unforgettable storytelling. And yet, in late 2025, the impossible happened: Slezak returned to daytime television, making a triumphant and emotional appearance

on General Hospital that sent shockwaves through the soap world. At 79, the six-time Daytime Emmy winner came out of retirement for a special story arc on ABC’s long-running medical drama, marking her first soap opera role in more than a decade. Over the course of 20 episodes, Slezak reminded viewers—and perhaps even herself—why she remains one of the most revered performers in daytime history.

A Call From the Past That Changed Everything

Slezak recently opened up about her General Hospital return in an interview, revealing that the opportunity came from someone who knew her talent intimately. Executive producer Frank Valentini, who had previously worked with her on One Life to Live, personally reached out with the offer.

The call stirred both excitement and doubt.

Her first thought, she admitted, was a deeply human one: “Wow, can I still do this?” After years away from the relentless pace of daytime production, the question was not unreasonable. Soap operas demand stamina, emotional precision, and an ability to deliver complex material at lightning speed. For any actor—let alone a legend returning after more than a decade—it was a leap of faith.

That hesitation vanished the moment Valentini revealed a crucial detail: her primary scene partner would be Jane Elliot.

A Legendary Pairing Reignites Daytime Magic

For Slezak, the chance to work closely with Elliot was not just appealing—it was decisive.

“Frank said, ‘You’re going to be working with Jane Elliot a lot,’ and I went, ‘Yep, I’ll do it,’” Slezak recalled. Her admiration for Elliot was unmistakable and heartfelt. “She is probably one of the best actresses I’ve ever worked with in my life. She’s amazing.”

Elliot, now 78, has portrayed the razor-sharp Tracy Quartermaine on General Hospital since 1978, becoming one of the show’s most iconic figures. Her wit, authority, and emotional range have long made Tracy a cornerstone of Port Charles.

Slezak didn’t mince words when describing Elliot’s unique talent. “I’ve never known anyone who could say the worst, nastiest, meanest things in the world with a smile on her face and make it work,” she said, capturing exactly why Tracy Quartermaine has remained unforgettable for nearly five decades.

Their scenes together crackled with history, intelligence, and emotional depth—two veterans of the genre sharing the screen with a level of nuance only decades of experience can bring.

Enter Ronnie: A Long-Lost Quartermaine With Emotional Weight

On General Hospital, Slezak stepped into the role of Ronnie, the long-lost sister of Monica Quartermaine. It was a storyline steeped in legacy, emotion, and consequence—one that paid tribute to the show’s past while pushing its present forward.

Monica Quartermaine, portrayed by the late Leslie Charleson, has been a foundational character since 1977. Charleson’s passing in January 2025 cast a long shadow over the series, and Slezak’s arrival as Monica’s previously unknown sister added new layers of meaning to an already emotional chapter.

Ronnie’s introduction wasn’t just a surprise twist—it was a reckoning. Her presence reopened old wounds, unanswered questions, and buried family secrets within the powerful Quartermaine clan. Through Ronnie, viewers were given a new lens on Monica’s life, her choices, and the parts of her past that had never been fully explored.

Slezak played the role with restraint and gravitas, allowing silence, glances, and subtext to speak as loudly as dialogue. Ronnie was not written as a gimmick or short-term shock; she was a fully realized character whose arrival carried emotional weight for everyone she encountered.

A Career That Defined a Genre

To understand the magnitude of Slezak’s return, one must appreciate the legacy she carries. From 1971 until One Life to Live ended in 2012, she portrayed Victoria “Viki” Lord—one of the most complex and beloved characters in soap opera history.

Viki’s journey through love, loss, power, and mental health struggles reshaped how daytime television approached storytelling. Slezak’s fearless portrayal of dissociative identity disorder was groundbreaking, earning her critical acclaim and six Daytime Emmy Awards for Outstanding Lead Actress in a Drama Series—the most wins in that category by any actress.

Her absence from daytime left a void that many believed could never be filled. That’s why her decision to return, even briefly, felt momentous.

A Limited Run With Lasting Impact

Slezak’s episodes aired from September through November 6, 2025, but their impact continues to resonate. Her arc was carefully crafted, respectful of her legacy, and deeply integrated into the fabric of General Hospital.

Rather than overshadowing the current cast, Slezak elevated them. Her scenes encouraged quieter, more character-driven moments—something longtime fans often crave. Younger actors shared the screen with a masterclass in performance, while longtime viewers were treated to a reminder of why they fell in love with soaps in the first place.

The episodes are now available to stream on Hulu and the ABC app, allowing fans old and new to revisit this historic return.

A Triumphant, Graceful Homecoming

Erika Slezak’s return to daytime television was not about proving anything. It wasn’t about chasing nostalgia or reclaiming the spotlight. Instead, it was a graceful homecoming—one that honored the genre, the audience, and the relationships that defined her career.

In an era where television moves faster than ever, her General Hospital appearance stood as a reminder of the power of character-driven storytelling and seasoned performers who understand its rhythm.

For fans, it was more than a cameo. It was a gift. A final—or perhaps not final—bow from a woman who helped shape daytime television into what it is today.