Jul 31
1h 6m
“I won my first Emmy when I was 21, which was the result of absolutely devoting myself day and night for two years to doing all the scene work. I attended classes simultaneously and did plays until my mother died. I studied with Michael Howard for eight years. Even when I was so tired I couldn't get up to do a scene, he would say, "Get up and do a poem." It helped me enormously; it saved me.
The way I was trained and how I train others is that you know when you’re in the zone. Oh God, it feels so good. It feels like flying. And that's what you want. You want to be so unselfaware that you're on liftoff?
I had to become the father of my family very young because my parents divorced when I was 12. My situation was a little bit unusual in that my father kind of disappeared, and I had been making a fair amount of money as a kid, doing commercials and television and film. We needed money, and I kind of became the breadwinner. But I had this amazing world that I had access to, which was the world of the entertainment industry. My mom was supportive of my taking over and saying, "This is, I think, what we need to do." She liked the idea of moving to New York, so we moved to New York when I was 17 with a play that I had gotten. Then she got cancer and became really sick, so I had to take care of her full time. That lasted for about eight years, and then she died when I was 25. That was a rough go. At the same time, I had an amazing other world, and my other world was the world of make-believe and pretend, which I got to participate in on the soaps, with happy families and Christmases, Easters, miracles, love, weddings, and children. The pretend world that I spent a large amount of time in became a great way to balance what was sort of tragic in my real life.”
Our guest today is Cady McClain. You probably know her from her long and celebrated career in daytime television. She is a three-time Emmy® Award-winning actress. She plays Pamela Curtis on CBS’ Beyond the Gates, and is the Artistic Director of Axial Theatre, and her directorial work includes the documentary, Seeing is Believing: Women Direct, a fascinating look at the challenges and triumphs of women behind the camera. Her memoir, Murdering My Youth, is an honest and sometimes difficult book about growing up as a child actor in the spotlight. Her work across all these different art forms—acting, directing, writing, art, and music—all seems to be connected by a commitment to telling true stories, no matter how complicated.
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