This transcript was automatically generated and might contain errors.

[0:00] Cady McClain: I'm Cady McClain, and you're listening to Behind the Awards.

[0:03] Cady McClain: I only had a losing speech prepared. And my director, Robert Moore, said that I shouldn't thank anybody, so I will.

[0:20] Eila Mell: Hello and welcome to Behind the Awards. I'm Eila.

[0:22] Bruce Gotlieb: I'm here with Bruce.

[0:25] Eila Mell: Hello, Bruce.

[0:26] Bruce Gotlieb: Hello, Eila.

[0:28] Eila Mell: How are we doing?

[0:29] Bruce Gotlieb: I'm good.

[0:30] Eila Mell: Is that the deep, gravelly voice of Lauren Bacall?

[0:33] Bruce Gotlieb: Hi, I mean, is there's none quite like it.

[0:36] Eila Mell: That's her 1981 Tony Win for Best Supporting Actress in a Musical.

[0:40] Bruce Gotlieb: For that's Woman of the Year.

[0:42] Eila Mell: That's right.

[0:43] Bruce Gotlieb: That's woman.

[0:43] Eila Mell: Okay, because she also did Applause, and I always confuse which is which.

[0:47] Bruce Gotlieb: Yeah, she the my favorite part of it is when she gets up there and says, I only wrote a loser speech.

[0:54] Eila Mell: I don't know who she was planning on giving that speech to.

[0:56] Bruce Gotlieb: I don't know.

[0:57] Eila Mell: Yeah.

[0:58] Bruce Gotlieb: Right. Why write a speech if you're not planning on winning?

[1:01] Eila Mell: Right. Maybe she was gonna do it in like the after party she would, you know, holds court in the corner somewhere.

[1:05] Bruce Gotlieb: Oh, maybe.

[1:06] Eila Mell: It's nice. I would have thanked this person.

[1:09] Bruce Gotlieb: Or maybe if you write a loser speech, it means it's like a bad speech that you don't care that much about because you don't think you're gonna win.

[1:15] Eila Mell: I don't know.

[1:16] Bruce Gotlieb: Right. I mean, there's a lot of when it comes to award shows and speeches, there's a lot of, you know, there's some superstition behind it where some people feel like if I write a speech, then I'm not gonna win because I'm too prepared for it.

[1:28] Eila Mell: Right. You know, you don't want to jinx it, yeah.

[1:30] Bruce Gotlieb: Right. Would you have a speech written if you were nominated for something?

[1:35] Eila Mell: Um no, probably not.

[1:38] Bruce Gotlieb: Okay. That would mean I would have to do homework, so probably not.

[1:42] Eila Mell: Okay. The worst speeches are the ones where it's just a laundry list of names.

[1:47] Bruce Gotlieb: Right. Those are so boring.

[1:49] Eila Mell: But now, remember the Emmys, the past two years just had that scroll of names.

[1:53] Bruce Gotlieb: I guess people submit the names ahead of time so they can just talk about whoever they want.

[1:58] Eila Mell: Well, because you get played off after a certain amount of time.

[2:01] Bruce Gotlieb: I know. And some people don't listen to the playoff music.

[2:05] Eila Mell: They just keep going.

[2:07] Bruce Gotlieb: I don't like when people do that. I you know, this show is just so long. I I don't think it's nice when they do that.

[2:13] Eila Mell: But you know.

[2:14] Bruce Gotlieb: I know. I well, I think there's different ways you could do it rather than barreling through, you know.

[2:19] Eila Mell: Remember Julia Roberts was kind of rude, which was like, no, Mr. Baton Man or something like that.

[2:24] Bruce Gotlieb: And we had that clip recently that we did where uh Kate Winslet was like, you're not gonna play me off.

[2:30] Eila Mell: She didn't say no, don't do it, but you know.

[2:33] Bruce Gotlieb: Yeah, she she did it a little nicer.

[2:35] Eila Mell: Right. You're having your moment. It may never come again.

[2:38] Bruce Gotlieb: I get it.

[2:38] Eila Mell: Right.

[2:40] Bruce Gotlieb: So, all right. Do you have a favorite Lauren Bacall movie?

[2:45] Eila Mell: Um, no, probably not.

[2:47] Bruce Gotlieb: Have you seen a Lauren Bacall movie?

[2:49] Eila Mell: No, you have. I'm sure you have. You've seen The Mirror Has Two Faces, right?

[2:53] Bruce Gotlieb: No.

[2:54] Eila Mell: Barbara Streisand?

[2:55] Bruce Gotlieb: No, really. I know it exists.

[2:57] Eila Mell: Right. Oh no, it's a good one.

[2:58] Bruce Gotlieb: I believe I've seen. Did Barbara, Barbara directed that, right?

[3:02] Eila Mell: I don't remember.

[3:04] Bruce Gotlieb: She she might have. She might not have. I don't know.

[3:07] Eila Mell: But it's it's good.

[3:08] Bruce Gotlieb: All right. Um I'll add it to my movie list.

[3:11] Eila Mell: Add it to the list. You can watch it. But my favorite Lauren Bacall movie is not a good movie, but it's a fun movie.

[3:18] Bruce Gotlieb: It's The Fan.

[3:19] Eila Mell: Okay. You know about this movie?

[3:21] Bruce Gotlieb: I think so.

[3:23] Eila Mell: So she plays a Broadway star, pretty much like herself at this time. Stapleton plays her assistant.

[3:28] Bruce Gotlieb: Oh, and she's rehearsing a new show and she has a stalker.

[3:33] Eila Mell: Oh my god, it's so much fun. And there's Broadway numbers, so there's all Broadway dancers in it.

[3:38] Bruce Gotlieb: Oh, yeah. And Santo Laquasta did the sets.

[3:42] Eila Mell: It's pretty great. I mean, it's bad, but it's great.

[3:46] Bruce Gotlieb: So it's pre so it's pre-bodyguard bodyguard kind of.

[3:50] Eila Mell: Oh yeah, exactly. That's what it is.

[3:52] Bruce Gotlieb: And it's pre that Robert De Niro movie, The Fan.

[3:55] Eila Mell: Right.

[3:56] Bruce Gotlieb: So it sounds a little bit more campy though.

[3:59] Eila Mell: Because you have numbers.

[4:00] Bruce Gotlieb: Oh yeah, exactly. That's what makes it so much fun.

[4:03] Eila Mell: So definitely watch that. I mean, Whitney was never a dancer, so she wasn't doing a dance number in The Bodyguard.

[4:09] Bruce Gotlieb: No, no, no.

[4:10] Eila Mell: But this has people who were like in the original cast of, you know, Chorus Line and Cats and that era dancers, which I think is fun to be able to look back at.

[4:19] Bruce Gotlieb: Yeah.

[4:20] Eila Mell: That's The Fan.

[4:22] Bruce Gotlieb: All right. Well, last time I gave you movies to watch, now I have movies to watch.

[4:26] Eila Mell: Exactly. You just bought tickets to something.

[4:29] Bruce Gotlieb: We're very proud of our former guest, Kevin Del Aguila.

[4:34] Eila Mell: What's he doing?

[4:35] Bruce Gotlieb: Yes, he is uh in the cast of Schmigadoon at the Kennedy Center.

[4:41] Eila Mell: So for those of you that didn't hear the Apple TV series, it was Apple, right?

[4:46] Bruce Gotlieb: Yeah, it was Apple, and they did two seasons and everyone was kind of highly anticipating a third season renew, and it didn't come through.

[4:56] Eila Mell: It was so disappointing because it was everybody loved Schmigadoon.

[5:00] Bruce Gotlieb: So the first season was like Rogers and Hammerstein musical.

[5:05] Eila Mell: Yeah, it was like The Music Man.

[5:07] Bruce Gotlieb: Oklahoma, Brigadoon, obviously.

[5:10] Eila Mell: And then the second season was 1960s musicals.

[5:13] Bruce Gotlieb: Yeah, yeah.

[5:14] Eila Mell: And 70s also. Schmicago, right?

[5:16] Bruce Gotlieb: So there was Chicago, there was Sweeney Todd, so the 70s, there was Hair.

[5:20] Eila Mell: So much fun.

[5:22] Bruce Gotlieb: But now there's going to be a stage version of it.

[5:24] Eila Mell: So who is Kevin playing? Do we know?

[5:25] Bruce Gotlieb: He's playing Reverend Layton.

[5:29] Eila Mell: So are the characters the same as from the show?

[5:32] Bruce Gotlieb: I believe so. At least that's my understanding.

[5:35] Eila Mell: Was that Fred Armisen, maybe?

[5:37] Bruce Gotlieb: Yes.

[5:38] Eila Mell: Oh, how fun.

[5:40] Bruce Gotlieb: Well, Kevin is the kind of actor who can really easily do anything. When I read that that's who he was playing, I was like, ooh, that's like a really in his sweet spot of like the type of character he is.

[5:51] Eila Mell: Yes.

[5:51] Bruce Gotlieb: So can you tell me who else is in the cast? Has it been announced?

[5:53] Eila Mell: Okay, that's true.

[5:55] Bruce Gotlieb: So yeah, so Alex Brightman is playing Josh Skinner, which was the Keegan Michael Key.

[6:02] Eila Mell: Okay. Well, he's great.

[6:03] Bruce Gotlieb: Sara Chase, who's in The Great Gatsby. She's playing Melissa Gimble, which was the Cecily Strong.

[6:10] Eila Mell: Cecily Strong character, yeah.

[6:12] Bruce Gotlieb: Okay. Um, and then Kevin obviously is Reverend Layton.

[6:17] Eila Mell: McKenzie Kurtz from Wicked and Part of Rock and Right.

[6:22] Bruce Gotlieb: Yeah, she was. We actually saw her. She was our Glinda when we saw she was, and I thought she was wonderful.

[6:28] Eila Mell: She is going to be playing Betsy McDonough.

[6:31] Bruce Gotlieb: Was that a character from the show?

[6:33] Eila Mell: She, yes, that's the role that Dove Cameron played.

[6:36] Bruce Gotlieb: Oh, okay. That's perfect.

[6:38] Eila Mell: Uh Isabella McCalla from Water for Elephants. She's going to be playing Emma Tate.

[6:44] Bruce Gotlieb: Is that the Ariana DeBose role?

[6:47] Eila Mell: That is the Ariana DeBose.

[6:49] Bruce Gotlieb: Okay. Javier Munoz is going to be playing the Doc Lopez character.

[6:56] Eila Mell: Okay.

[6:57] Bruce Gotlieb: In the TV show was played by Jamie?

[7:02] Eila Mell: Jamie Campbell.

[7:03] Bruce Gotlieb: Yeah. Javier Munoz. He used to be in high school a student of our friend Rory.

[7:09] Eila Mell: Oh, how fun is that?

[7:10] Bruce Gotlieb: Yes. And he helped create the lead role of Hamilton with Lynn Manuel Miranda. He was his alternate, and he was also his alternate in In the Heights.

[7:15] Eila Mell: Oh.

[7:19] Bruce Gotlieb: Yeah. Very fun.

[7:21] Eila Mell: Yes. And then we have Brad Oscar from Something Rotten.

[7:25] Bruce Gotlieb: Yes.

[7:26] Eila Mell: He is going to be playing Mayor Menlove.

[7:28] Bruce Gotlieb: Oh, nice.

[7:29] Eila Mell: Then Alan Cumming.

[7:30] Bruce Gotlieb: Yep, that's right.

[7:32] Eila Mell: Manlove.

[7:32] Bruce Gotlieb: That's so funny.

[7:34] Eila Mell: Right. Isn't it? I mean, it's just the humor in it is great.

[7:38] Bruce Gotlieb: I know. It's fun.

[7:38] Eila Mell: And he's the wizard in Wicked right now, Brad Oscar.

[7:41] Bruce Gotlieb: Yeah, he's he's a busy guy.

[7:43] Eila Mell: He is. And then we have, let's see, Emily Skinner.

[7:47] Bruce Gotlieb: Okay, great.

[7:48] Eila Mell: She's playing Mildred Layton, which was the part.

[7:51] Bruce Gotlieb: Of course, yeah. Amazing.

[7:53] Eila Mell: Well, that's great. She'll be fun.

[7:54] Bruce Gotlieb: And then Ann Harada is reprising her role of Florence.

[7:58] Eila Mell: Oh, that's exciting.

[7:59] Bruce Gotlieb: Yeah.

[8:00] Eila Mell: Is she the only one?

[8:01] Bruce Gotlieb: She's the only reprise role, yes.

[8:03] Eila Mell: Okay. Well, good for her.

[8:05] Bruce Gotlieb: And the last casting that they announced was Ryan Vasquez, who is in The Notebook.

[8:10] Eila Mell: So is he playing Aaron Tveit's part?

[8:13] Bruce Gotlieb: Yes, Danny Bailey.

[8:14] Eila Mell: All right. Well, I guess them all, so that means it's good casting.

[8:18] Bruce Gotlieb: Yeah. I mean, I think, you know, talk about star-studded, you know.

[8:23] Eila Mell: Really?

[8:23] Bruce Gotlieb: Yeah. No, this is a great cast. And the series creator is involved. The creative team that was behind the series is involved. So you know, you know it's gonna it's gonna be right in line with what you were used to seeing on TV.

[8:38] Eila Mell: So well, that's great. And so you're making a trip to DC for it.

[8:41] Bruce Gotlieb: Yes. So if you're if you're in the DC area or have the means to get to the DC area.

[8:47] Eila Mell: Or want to meet Bruce.

[8:49] Bruce Gotlieb: Or yeah, come on down.

[8:51] Eila Mell: So it's running very short, January 31st through February 9th.

[8:56] Bruce Gotlieb: Oh, so two weeks.

[8:58] Eila Mell: Yes. And tickets are going like I mean there were day there were when I was looking to decide which day, I was like, well, clearly I'm not going here because there's like oh wow.

[9:08] Bruce Gotlieb: Five scattered seats available.

[9:10] Eila Mell: Oh my gosh.

[9:10] Bruce Gotlieb: So it might even be sold out by now, but maybe they're doing it as a tryout. Maybe it'll come to New York, hopefully.

[9:14] Eila Mell: So I mean that would be great.

[9:17] Bruce Gotlieb: Yeah. Well, I guess we'll see. Maybe it'll be in the 25 season then.

[9:22] Eila Mell: Oh, well, maybe. I'm excited about our guest today because I used to watch her for years and years as um as a teen and then in college as Dixie on All My Children.

[9:35] Bruce Gotlieb: Yes, you were an All My Children fan.

[9:37] Eila Mell: I was an All My Children girl. Um, but Cady McClain has been on many soaps. She's won many Emmys. She's as good as it gets. Uh and I just excited to talk to her because she's doing theater now.

[9:51] Bruce Gotlieb: Yeah, she's doing theater at Theater for the New City.

[9:54] Eila Mell: Yeah, it's actually in the East Village. And she's also teaching theater classes, so she she shares all that with us.

[10:01] Bruce Gotlieb: So we should bring her out.

[10:03] Eila Mell: Let's bring her out.

[10:06] Bruce Gotlieb: Well, Bruce, we are so excited to welcome Cady McClain to our show.

[10:11] Cady McClain: Hello.

[10:12] Eila Mell: Hi, thank you so much for having me.

[10:14] Bruce Gotlieb: Thank you so much for joining us. I've heard nothing but raves about you and Orson's Shadow.

[10:20] Cady McClain: Thank you so much. Uh it's a show that I'm extremely proud of. Um, and it's an amazing ensemble, amazing directors with beautiful production, and I'm really thrilled to be a part of it.

[10:32] Eila Mell: Well, that's why we wanted to have you on because there's still another week or two left, so people need to hurry and get to Theater for the New City to see this great show.

[10:40] Cady McClain: Thank you. Yes, we have seven shows this week, and then we have five shows next week.

[10:46] Cady McClain: So we close Saturday, December 1st. And there's no shows on Thanksgiving, obviously, or uh November the 30th.

[10:54] Cady McClain: So we do Tuesday, Wednesday, Thursday, Friday, Saturday, two on Saturday, and one on Sunday.

[10:59] Bruce Gotlieb: Okay. So how did this play kind of come to you and you get involved with it?

[11:03] Cady McClain: Well, it's an interesting story. I am friends with a woman named Gabrielle Berberitch, who's the owner of Michael Howard Studios. Michael Howard Studios is where I went to school as an actor, young actor, I started when I was 17 years old at Michael for eight years. And I would go back from time to time and see Michael and Gabriella and I had met all and but a few years ago, sort of as the pandemic was sort of tripling off, she had said to me, you know, I love this play called Orson's Shadow. I really think you should do it. You should do maybe Vivian. You should do this. I said, Oh, that's interesting. You know, I'm just trying to find my life again.

[11:39] Cady McClain: I don't know what's going on. Then I started, you know, uh investigating a play and researching it. Last March of this year, I was on the subway in New York, and I saw this gentleman holding uh a flyer for Orson's Shadow. And I was like, No, stop, someone's doing it. I'm at the chair. So I said, you know, I'm definitely gonna come. You know, this is a beautiful play. This is so strange that someone's doing it. So I saw it and it was exquisite. This was March at Theater for the New City. I saw the last show, and so I said to the group afterwards, you know, what are you doing with this piece? This this this is a super special piece. The actors are so magnificent. How can I help? So we began a series of meetings with Austin, with the other members of the team.

And it took a few months for them to sort of take me seriously, that I was like, no, no, no, we have to do this. So originally I was just on board as a producer and you know, finding the funds, finding the groups that needed to be involved. And then one of the actresses, Kim Taff, who played Joe in the original production, couldn't do it when Theatre for the New City had the space available. And part of the conversations with Theatre for the New City um were uh pretty interesting. You know, Crystal was like, I love the show too. We have never done this in our um history, remounted a show. And especially so quickly. The only one that she could recall was um Sam Shepard's Fairy Child. And so she said, I'm gonna help this show.

I want I believe in the show too. Let's figure out a way to do it. So that was the space and time that they had available. Kim was not available. And then began a series of conversations about, you know, we gotta find somebody, and we were creeping up at the time, and I was like, um, you know, I'm an actor. Uh I kinda love this role. I think I could do this. So I auditioned. I had to audition, and then I had to do uh a callback. Um, so I had to prove myself. But they said yes, which is great. So it was Theatre for the New City presenting, my company at Seal Theater, Brad Freiman's company, Oberon Theater Ensemble, Robert Guerrer's Theater Company, Sternberg Rep. Then I brought on Michael Howard Studios, and they brought on Fortified.space, and then I brought on Amanda Quinn Olivar.

So we had like this massive group of people, um, and there were others as well, um, that were just, you know, helping, supporting, doing subject to support the play, who really all worked together to help to help get this production up and going as it is, which is crazy. But seems to be the way now. Well, and they say it does, you know, it takes a village, right? So here's your village that has kind of helped mount this production.

[14:16] Bruce Gotlieb: That's right. That's right. We'll be right back. We have to listen to some commercials.

[14:27] Cady McClain: So you're playing Joan Plowright. And then the other characters are Vivien Leigh, Laurence Olivier, Orson Welles. I mean, what uh what a cast. Are you very familiar with these actors before the show?

[14:41] Cady McClain: Um, well, yeah, of course. I mean, like, you know, who doesn't know about Orson Welles and Vivien Leigh and Laurence Olivier, right? Now, Joan Plowright was less familiar to me. Um, I was aware of her work um as an older actress. She did um Enchanted April. I know a lot of people remember Enchanted April and The Manchurian Candidate, right? Avalon and like some like very popular, you know, big movies. Um, but as I did my research, I was like, oh my gosh, you know, she's actually one of the dames, you know, she's one of the great theater actresses of London with an incredible resume of work, and some of it you can find on YouTube. And so I began to watch her Merchant of Venice. Um and uh other pieces that she had done that I was just blown away, just blown away by what could be found, and um and of course, you know, Larry Olivier and uh and Vivien Leigh had an incredible love story.

It was like a Camelot kind of love story. They were the two romantic leads, you know, during and post-World War II, and their movie um that Hamilton Woman was something that Winston Churchill had said was his favorite movie that helped him get through the war, and it's mentioned in the play. It's talked about quite a lot in the play. Um and about uh how I mean, I knew Laurence Olivier was also a great stage actor, but I didn't really kind of understand it until I saw this play about how he was trying to prove himself, you know, go beyond being uh a matinee idol, beyond being a you know a great movie star, um, but become a great actor. And he did. He became known as a great actor and um, you know, artistic director of National Theatre for ten years.

And the little piece of history that I didn't know was that it was a critic uh named Ken Tynan, who was um his partner at um National Theater. Ken Tynan's known as one of the great critics of all time, and um his so his involvement with the Oliviers um was really pivotal in terms of uh Laurence's career. Um also at that time Laurence Olivier was having a bit of an affair with Joan Plowright, who was much younger, and leaving um Vivien Leigh, um, in part, I think because she had a mental illness and it was, you know, diagnosed um as sort of a mania, but she would spin out and then she would c the treatment at the time was rather barbaric, you know, it was electroshock therapy. So whether how much that was helping her or not, um it's unlikely that it was doing much to help really.

Yeah, in my opinion. Um but uh so she sh but she was she was really becoming quite aggressively manic, um, which was tragic, really tragic, you know, and it was a in part the ending of that relationship. She did go on to find uh uh another partner in life, another house thing in life. We cared for her, and she died at the age of 53.

[17:36] Bruce Gotlieb: Wow. I didn't realize she died so young.

[17:39] Cady McClain: Yeah. Wow. And Ken Tynan as well, he died, um, and because he might get age of 53.

[17:44] Bruce Gotlieb: Is he a character in the play also?

[17:46] Cady McClain: Yes. Yeah. Yeah. Oh yeah. And that's the beauty of the play. I mean, you get to spend, feel like you're spending time with these, you know, giants of theater. You know, it's very immersive in that way. Like you're watching a rehearsal. You're watching conversations. You're watching their backstage life, you know, even a little bit of their on-stage life, you know, and we are embodying them in some degree, which is it's very interesting. Sometimes there's like moments where the lights flicker and like uh they're visiting.

[18:15] Bruce Gotlieb: That would be wonderful.

[18:16] Cady McClain: Yeah, it's like uh almost you're giving the audience uh, you know, not only a chance to be a fly on the wall, but go in like a little time capsule and and you know, go back in time and be a fly on the wall.

[18:27] Cady McClain: Absolutely. And that is exactly what uh the audience has reflected back to me anyway, how they feel. And you know, to touch that magic to sit inside, you know, a rehearsal room with these great people. I mean, that's how I felt when I saw the play. I was just like, and then I also thought like, oh you're my people. You know you're artists of like the ones that dream, the ones that reach, the ones that, you know, hope I mean, and you're just as human as you're just as life-sized as the rest of us, you know.

[18:53] Bruce Gotlieb: Right.

[18:53] Cady McClain: Which is also really beautiful and and very touching, you know. We all have goals and dreams and hopes and things that we we want to be a part of and aim to be a part of, and how close we can reach that goal or not is, you know, part of our lives. So And you're working with Austin Pendleton, who is just, you know, theater royalty in New York here. I mean, the man never stops working. It's incredible. He's 84 years old and he never stops working. And and he has um these beautiful little gems and insights, and he tells things in this in stories, you know. So um in a storytelling kind of fashion. So you're like, oh interesting. He worked with Orson Welles in Catch-22. Oh wow. He had tea with uh Vivien Leigh in the 70s. So he got to meet these people.

And he said to me, he confessed to me that uh Natalie Mena, who plays Vivien Leigh, uh embodies the role more than any other person who's ever played this part. She really just brings brings Vivien to life in a way that he knows the beams like. So I think that's a really beautiful compliment.

[19:56] Cady McClain: Yeah. And just Theater for the New City, it's like an iconic downtown theater space. It's so cool to work there.

[20:03] Cady McClain: It is. It is. It's um it's unusual. It's um it has that feeling of, you know, nine no a little bit of like the old sixties, seventies we're making theater, you know, we're community, it's not corporate in the least slight, you know.

[20:19] Bruce Gotlieb: Right.

[20:19] Cady McClain: There's art on the walls, you know, that um, you know, feels very true to like a neighborhood or like, you know, community. Um, but it's not community theater. Like these are very, very talented people putting up, you know, new plays most of the time. It's um that what they put that what was. So is there any goals or or conversations about where this play, if it goes anywhere after you guys close?

[20:42] Cady McClain: Oh yeah. Those conversations are ongoing. You know, I have my little dreams, I have my little conversations with people, you know. And off-Broadway, as you guys know, I mean, it's really hard. It's it's more than a village. It it it takes, you know, several uh states.

[20:55] Bruce Gotlieb: Yes.

[20:56] Cady McClain: And America's all countries. Yeah. And a miracle. Yeah. They get a flat on to off-Broadway, just off-Broadway. But you know, I'm very excited because we have a lot at hope and we have a lot of interesting parties and so much positive feedback. There's just a lot of sparkle um around this piece. And I feel like I feel like to some degree it is because it is transformational for everyone for the audience for us, that that walk to another time that allows um everyone to sort of disappear from whatever their troubles are today, you know, into something that's um just truly magical. So I have great hopes for it.

[21:33] Bruce Gotlieb: That's exciting.

[21:34] Cady McClain: Absolutely. So have your daytime fans come to see you in this?

[21:39] Cady McClain: Yes, they have. I mean, they're a dedicated audience. So that's what I'm saying. I live I talk about it all the time. There is nothing like a soap fan.

[21:46] Bruce Gotlieb: That's true, that's true.

[21:47] Cady McClain: And they've been very kind and super supportive. And they're just they're also just like um, you know, there's a nice man named Jason, right? Stay afterwards, stay. I can't take a picture with you right now. I have no makeup on. I cannot have that out in the world. Right. But stay and I'll take a picture of you afterwards. And then he disappeared.

[22:03] Cady McClain: Oh, but I do always stay afterwards and take pictures with people, and they've been so great. But they're also just like, wow, you know, they love it. They're they're enjoying it. I will say there is a little bit of, you know, the there is a little romantic drama going on. So I suppose if you like the romantic drama, this is definitely for you. It feeds into it, it's all the same, right?

[22:23] Bruce Gotlieb: But I can only imagine that working on a soap is an even harder schedule than working in a play.

[22:29] Cady McClain: Yeah, so work is very hard. And he's it it uh I you know, it's lovingly called boot camp. Yeah, it is without a doubt a boot camp. And um I have done my I've served my time in boot camp for sure. You know? But it made me strong. It made me very strong. And I'm I'm grateful for it. And I yeah, I sometimes wonder I ask myself, like, you know, Repute, have you do you choose hard projects just because you're used to things being so hard? Right. Perhaps you could just like maybe pick a couple of things that weren't quite so demoable that you weren't moving mountains to make happen. Um, but you know, I guess that's just it what I've gotten used to, and that's me, and thank goodness I can do it, you know. Really. And and is it relatively easy for you to learn lines because you're used to learning at such a quick pace?

[23:11] Cady McClain: It's funny. Um, you would think so, but no. I some people have like photographic memories, some people have the like, oh, I can connect the dads. Um, if not, it's absolutely just crueling for me. And I stare at the words like, have you ever read a word before? Have you ever seen the word and before? Do you know what that means? What is your problem? You know? So I, no, it's just torture. Oh well. You know, I just grind through it, you know. I mean some I come up with little tricks, you know, like, oh yeah, like here, this line and this line, this matches with this, and it's like hand and a flight. You know, so you have to have little tricks that otherwise you couldn't.

[23:49] Bruce Gotlieb: Absolutely. Let's take a minute to hear a word from our sponsors.

[23:55] Bruce Gotlieb: So, you know, our show's called Behind the Awards, and you've got some awards. How many Emmys do you have? Is it three? Four?

[24:01] Cady McClain: Three Emmys.

[24:03] Bruce Gotlieb: That's amazing.

[24:05] Cady McClain: Thank you. I'm very proud of it. Somebody pointed out, no, you realize it's also three different decades that you won these awards. And I was like, oh, I actually I didn't actually kind of think about that that way, you know. At first I remember thinking like, well, you know, like David Canary, what is it at like seven? Do you know what I mean? Like, or um, but that was the same character uh over like a set of, you know, sometimes it was three or four years. Right, you know, he would win in a row. And this was um, my first one was in nineteen ninety. Um, my second one was in two thousand and four, and my third one was in uh twenty twenty one. And they were all for different shows and all for different characters and all on different networks.

So it was very much in range and uh, I've learned now that there's no uh, there was only one uh man named Justin Dees, who won three different Emmys for three different characters on so different shows, and I'm the only woman who's ever done that. So I'm very proud of that.

[24:57] Bruce Gotlieb: Wow, sure. Yeah, that's quite an accomplishment.

[25:00] Cady McClain: That's huge. It just shows that you have, you know, a lifetime of a career. It's not just, you know, one role.

[25:04] Bruce Gotlieb: Thank you. I mean, that was absolutely my goal. And you know, having played a character called Dixie Cooney or Dixie Martin as people know on All My Children for a good stretch of time, and it was my concern. I was like, wow, well, I guess I could just play this part, you know, forever and ever. But it wouldn't be true to me, you know, or to what I wanted to do with myself as an artist. I mean, they wanted to prove that I can play different people. So, you know, the next role is the complete opposite, you know, of Dixie, rich and sophisticated and yeah, and tough. And then the last role um was uh walking with totally into somebody else's character, somebody else's shoes that they created and trying to make that person come to life, which is in a way that it was still me, which was a great, really a harder challenge than I thought it was gonna be.

[25:53] Bruce Gotlieb: I'm sure. Well, Dixie, you were a recast, but very early on, right?

[25:56] Cady McClain: I don't think anybody even remembers that there was another Dixie.

[26:00] Bruce Gotlieb: There was, yeah, for like three months.

[26:02] Cady McClain: Yeah. Um, I think Kim was Carrie Gibson and um very nice lady, but a totally different take on you know Sother Girl.

[26:10] Bruce Gotlieb: Right.

[26:10] Cady McClain: And um, and then uh Rosanna was a recast. I'm gonna embarrass myself, but Yvonne Perry.

[26:17] Bruce Gotlieb: Okay, that was it.

[26:18] Cady McClain: Um, who played uh Rosanna. Um, and then uh Melissa Reeves played um Jennifer. So I've we I was we cast off a few times, you know. So that's also daunting to some degree, you know, you have to sort of see, like, okay, well, what did that actress what was their take on it? And then what what could I do differently? And now I'm recast on Joan.

[26:36] Bruce Gotlieb: That's right.

[26:37] Cady McClain: That's right. Yeah.

[26:40] Bruce Gotlieb: That is a weird. I never thought of that. I guess I like the challenge of that too. Like, I like what you brought to it. Right. Let me try this. Because I'm sure there, especially with the other characters, there is a layer of what already existed that has to be there because this character, especially on the TV side, has been around for however long. There probably is a weird balance that you have to find because if you went in and totally left field, did it people would be pretty resistant, I would imagine.

[27:11] Cady McClain: Right. There are expectations of a character.

[27:14] Bruce Gotlieb: Yeah.

[27:14] Cady McClain: Yeah. Yeah, for sure. I mean, there's also, you know, many meetings and you have producers and like sort of their background on it. Um with Rosanna, I think the fun part was like I really said to them, hey, can I write a new background? And so they were very um open to that, you know, that I could change some of the story of the character. Um, they liked that idea. So they let me play.

[27:40] Bruce Gotlieb: That's nice.

[27:42] Cady McClain: And I feel like in soaps, in soaps, you might they take more liberties than you know a prime time show would with people's, you know, changing and and things like that. You could always say I was the twin and you know, you move on.

[27:55] Bruce Gotlieb: That's quite good.

[27:55] Cady McClain: That's right. Although, although I think nighttime TV has gotten very, you know, wild these days, right?

[28:02] Bruce Gotlieb: Yeah.

[28:02] Cady McClain: You know, like Stranger Things and you know, Euphoria. You're like, what is happening?

[28:07] Bruce Gotlieb: Yeah.

[28:09] Cady McClain: So it we've taken a hard hard left in terms of you know, that though anything is possible in terms of um night on television, which is kind of exciting.

[28:18] Bruce Gotlieb: It is flattering. It's flattering to um to the daytime role than it's absolutely.

[28:23] Cady McClain: Have you seen Bill Timiny in Our Town?

[28:25] Bruce Gotlieb: I have.

[28:26] Cady McClain: Isn't it great?

[28:28] Bruce Gotlieb: Oh my gosh.

[28:29] Cady McClain: So Bill, as you know, was on All My Children. Then we we knew each other back when uh the earth was cooling, and um we reconnected again here in New York, and I just adore Bill. And I saw him in um Pearly Victoria's.

[28:42] Bruce Gotlieb: Yes.

[28:42] Cady McClain: And he was wonderful in that, which is such a great place. Yes. Um, and then now it's in Our Town, and I really encourage everybody to go see that as well because it's just wow, what a terrific show that is. So we had the director, Kenny Leon, who did Pearly and Our Town on the show. And after we did the interview, we were just chatting, and I said, you know, Kenny, my teenage self is so happy that you have Bill Timot, because I used to watch All My Children all the time. And he said, I watched All My Children. Who is Bill? He had no idea.

[29:14] Cady McClain: Oh my god, that's crazy.

[29:16] Bruce Gotlieb: It's so funny, right?

[29:17] Cady McClain: I had no idea.

[29:19] Bruce Gotlieb: It's so crazy who to find out who's soaked for fans. You know, some of the biggest names that you just would not imagine.

[29:26] Cady McClain: Yeah.

[29:26] Bruce Gotlieb: Especially from that era, you know. Everybody kind of had their show, but it was judges, we had judges walking on set. Amazing. You know, huge sports stars. Um, I think it was Gabriela Sabatini, who's a huge All My Children fan. And yeah, um Carol Burnett. Carol Burnett, certain massive political figures who were gone named. Um literally on the show, you know. Like we're like, what is going on?

[29:50] Cady McClain: Well, yeah. And at the time, you know, I was young, and I it all just seemed so like, wow, this is so strange. You know, this is just so strange. All right, back to the work. I got I got lines to memorize, you know.

[30:01] Bruce Gotlieb: Right.

[30:02] Cady McClain: But you started as a much younger actress than even when you were on All My Children as a baby.

[30:08] Bruce Gotlieb: That's right. You started as a real child actor. So can you tell me about that background?

[30:13] Cady McClain: Absolutely. I'm actually kind of proud in several ways. One, um, because I survived it, and two, because I got to be a part of some really magical projects. Um, I started when I was nine. Um, my first really big job was as the Band-Aids kid singing I'm stuck on Band-Aids, and you know, why are those kids and then I got to be in My Favorite Year with Peter O'Toole. I mean, Swan. Yeah, which was amazing. Directed by Richard Benjamin, and I got to meet Peter to see with him, and I was incredible. And Pennies from Heaven with Steve Martin and Bernadette Peters.

[30:46] Bruce Gotlieb: And did you work with both of them?

[30:48] Cady McClain: I worked with uh Bernadette. Um, Steve came and visited us. We were a bunch of kids dancing, or I was a tap dancer, so we were dancing on white pianos, you know, which was at MGM, you know, the last movie musical. And that was every May. Uh at MGM. Um, which was incredible. Um, I did shows like Cheers, uh St. Elsewhere. Thank you for the remembering. Less, yeah, did like five episodes of Sidens. Um, and I really just I had no idea what I was doing. Yeah, to be honest with you. I was just like, what do I what am I? And eventually I was like, you know, this acting thing, I think it is more to it, you know. I mean, I was as I look back Lou Grant, you know, worked with Ed Asner. Wow. And I look back on my work, and I think actually, you know, you were you didn't feel like you were a natural, but you I was.

So I had a natural ability. And and but I knew that there was a craft to it because we loved the theater as as you know, I mean my sister, my family, and we would go to see all the plays at the Music Center every year, year after year.

[31:53] Bruce Gotlieb: What city are you talking about?

[31:55] Cady McClain: In Los Angeles. I'm so sorry. I was in I was raised born and raised in Los Angeles. So there's this place called the City Center, which has you know all the great plays come there where they're they're when they're touring. So I don't know if you remember Nicholas Nickleby, of course. The RSC production came, um, Dracula with Frank Langella and those are two of the ones. Evita with um Patti LuPone. Amazing. So I got to see those things in Los Angeles, and I I got to see like what else, you know, there was other than the television and film boroughs. Right. And that of course set my bar.

[32:27] Bruce Gotlieb: Yeah.

[32:27] Cady McClain: You know, when you have Patti LuPone setting your bar, you know what I mean? You don't often cut that meet it. But you've nowhere it in. Thank you, Patti.

[32:36] Bruce Gotlieb: Right.

[32:36] Cady McClain: Or looking setting the bar that's one Mandy Patinkin with, you know, he was also in Evita at SLG. It was just incredible, you know. Um, when I was uh fifteen, sixteen, sixteen, I think, I got a play um that was a uh vehicle for Bonnie Franklin to go to Broadway. And I played a young Bonnie Franklin and it came out here to the John Drew Theater uh on Long Island. And it brought me out here to New York, me and my mom and my sister was going to Yale because she's a genius. Yeah. On scholarships, which is amazing. Um, and so I said to my mom, can you please live in New York so I can study? You know, because this is where all the people that I admire the most, you know, are and you know, I knew nothing about theatre protocol.

Uh so I was making mistakes constantly and then very my embarrassing myself terribly. But I used to I had this problem in that particular play where I would ad lib because I thought it quietly to myself, because I knew the audience couldn't hear it. Right. But it would help me be more real in my scene, you know. But it drove the other actors obviously bananas. Those poor people, I feel so bad. I want to apologize in them like in this moment. I'm so sorry. I had no idea. Like now as if If somebody did that to me, I'd be like, look, little girl, this must stop. It's just very distracting. Um, but I was so nervous about my acting that, you know, I thought that would help, right? So uh eventually, you know, I found Michael Howard's and that's where I really began to understand what acting really was or could be and started training myself to be the kind of actor I wanted to be.

[34:13] Bruce Gotlieb: Yeah. And it's amazing that you're still connected. You know, today you're still working together, producing it. I mean, what a relationship.

[34:20] Cady McClain: I know it's amazing all these years later, you know. I mean that has a great deal to do with I mean a lot of people feel that way about Michael Howard Studios, I should say. It's not just me, you know. It was a place where or who are some of the greats that study there. Um, Daniel Craig, you know, would come into his warm-ups at Michael Howard's before he would go and you'll find his Fardaway play. Um, Michael Howard had those kind of relationships. Robin Williams and it was a group. They all studied at Juilliard because Michael studied at Juilliard.

[34:48] Cady McClain: Um, Bill Hurt and Christopher Reeves would study with Michael. Um, and so he was like working with these very powerful, very talented, but when they were young, you know, to sort of help them on their way. And it just sort of began this sort of reputation that really didn't need to be advertised. People would just know you go to Michael Howard Studios and you know, and we will you will get what you need. And I'm super grateful that I was there. I was the youngest student that he ever took on. I was 17. He had no idea how old I was. He thought I was in my twenties. I got into his master class. And so I got all of his training for eight years. Wow. I just kept going while I was on All My Children.

Like less than two years into my studying with him, I was when I went on first any. So I have a sort of a feeling of, you know, whether it's responsibility or just being a part of the tradition of the theater and what you give back. You know, so they needed a teacher and I was like, I miss this face and you know, so like let me come and teach here. And um, they've been very generous in sharing their space with me and um, I won't say generous but they're wonderful people and welcoming I should say very welcoming athlete and kind of like a full circle path for you.

[36:06] Bruce Gotlieb: For sure, for sure.

[36:07] Cady McClain: And also, I mean, I'll give you a little nugget of, you know, my life, my personal like, you know, my mom got cancer when I was 17. And we would, and he came back to be so very soon after we got here she got uh was diagnosed with breast cancer and then she died when I was twenty-five. So Mike Howard also became like a home as did All My Children and like a place that was steady and familiar and then I could return to and the people there were like family in a way. Because my dad wasn't around and then my sister had a life of an academic so she was, you know, this is really a typical actor story right? We all have this sense of little trauma, a little tragedy in our lives. Right, you know. But uh, I'm extra grateful to Michael Howard for that purpose because it provided beautiful sanctuary in a way during the very difficult times.

[36:55] Bruce Gotlieb: Yeah.

[36:56] Cady McClain: And I just realized working on All My Children, you worked with Ruth Warwick, who worked with Orson Wells.

[37:02] Bruce Gotlieb: Yes, that's right.

[37:03] Cady McClain: She was in Citizen Kane. She was the first wife.

[37:05] Bruce Gotlieb: The first wife at that long table.

[37:08] Cady McClain: Yes. Yes. What a grand dame she was as well in her life. That must have been fun working with her.

[37:15] Cady McClain: She was so great. She was great. But she also, one of the things that she said for me was she had a spiritual belief system, you know, that was not um particular religion, but she really followed um I don't always remember Eric Utterworth's. Do you remember Eric Utterworth?

[37:30] Bruce Gotlieb: No.

[37:30] Cady McClain: Or Louise Hay, you know.

[37:32] Bruce Gotlieb: I've heard of Louise Hay, yeah.

[37:34] Cady McClain: Yeah. But she went, she had a truth, you know, that was not um that was unusual, I think. At the time, so certainly it was a healing path that had the spiritual life, you know, woven into it. And um also at that time, do you remember Joe Campbell and the power of myths?

[37:51] Bruce Gotlieb: Yes.

[37:51] Cady McClain: Um, that was a Joseph Campbell and all with the hero with a thousand faces, like all of that was kind of in the conversations of, you know, mixing sort of like who are we and what are we, and even Jungian stuff was going on at the time, like, you know, Jungian psychology. But so she was the first person I ever met that was uh dream, you know, looking into your dreams and that thing. She was the first person I met who was doing that kind of looking and searching, you know, spiritual searching of who am I, you know, as a symbol. And I really admired that, you know, that there's more to life than what you may see. Yeah. And that you can as an artist, you know, you can it can influence you in ways that help you be curious and bring it to your work, you know, not to say there's any traps that ties or anything like that.

But um, I just found it to be a door opener, right? For me. And especially in terms of imagination work. We did an exercise in class today where I had the students um, you know, they're get you know, you go through relaxation stuff and then you look have them imagine looking up into the night sky. And a lot of times what I do is very intuitive. And I said, Okay, now you have a key in your hand. And now I want you to reach up into this sky night sky and find that there's a lock that the key fits in, and you're gonna open a door in the night sky, you know, and then like what's behind the door in the night sky.

[39:08] Bruce Gotlieb: Oh so it's like that, you know?

[39:09] Cady McClain: Yeah. I want to reiterate that Orson's Shadow is running till December 1st. So people, All My Children fans, go join up together and go see Cady.

[39:20] Bruce Gotlieb: That's great and she'll take her picture with you.

[39:23] Cady McClain: Well, and for that case, As the World Turns and Days of Our Lives too. They should all go. Thank you. Uh, Days of Our Lives, Young and Restless, All My Children, and As the World Turns.

[39:23] Bruce Gotlieb: As the World Turns, yes.

[39:34] Cady McClain: Cover the balls. And more to come.

[39:36] Bruce Gotlieb: Really?

[39:37] Cady McClain: That's right. So I'm primarily a writer, and I owe my career as a writer to not getting a part on As the World Turns.

[39:46] Bruce Gotlieb: Oh no.

[39:47] Cady McClain: It went to Parker Posey and it gave me the idea for my first book. So it's so funny how, you know, there's so many things are related, even though they're kind of not, but they are.

[39:58] Bruce Gotlieb: That's so funny.

[39:59] Cady McClain: Well, it was it obviously, you know, meant to be a part of your journey.

[40:02] Bruce Gotlieb: That's right. Exactly.

[40:04] Cady McClain: So funny. And you know, obviously nobody knew her at that point.

[40:07] Bruce Gotlieb: Oh no, that's right.

[40:09] Cady McClain: Yeah. That was and she got, you know, the even the indie world at that time was like a niche.

[40:14] Bruce Gotlieb: Right.

[40:15] Cady McClain: You know? Yeah. But uh what a wonderful niche it was.

[40:17] Bruce Gotlieb: Oh especially at that time, right?

[40:19] Cady McClain: I know. Yeah.

[40:20] Bruce Gotlieb: But they were all like real, there was a lot of New York.

[40:24] Cady McClain: You must be in New York kids.

[40:24] Bruce Gotlieb: Yeah, I am New York kids.

[40:26] Cady McClain: Yeah, yeah, yeah. So like the New York kids were different, you know. You know, I was a California kid and I came in like very naive, yeah, quite really protected. And it took me a but uh but I could swear for whatever reason or other, like my mother allowed me to swear. So I managed to survive New York. Still believe it because I had a mouth on the case.

[40:41] Bruce Gotlieb: Oh well that's good. It does help.

[40:43] Cady McClain: That and not looking when you're walking down the street at anyone. You just go straight.

[40:46] Bruce Gotlieb: Go straight.

[40:48] Cady McClain: No, I'm still terrible at that. I'm like always looking at people looking up.

[40:52] Bruce Gotlieb: Oh, people must stop you.

[40:53] Cady McClain: They probably still want to talk to you all the time.

[40:55] Bruce Gotlieb: I still talking to me, it's true.

[40:57] Cady McClain: I'm sure. I'm sure I have to stop.

[40:59] Bruce Gotlieb: Thank you. Thank you for that reminder. Do you have anything else after this that's coming out that our listeners can look for for you?

[41:06] Cady McClain: Absolutely. Um, so I I'm not sure I hope I can talk about it. I'll double check, but I'm gonna tell you anyway. Um, there's a bunch of things that I'm, you know, there is a new TV show that I got and I don't know whether I can talk about the name of that one yet, but that's coming out. You'll know next year for sure. If not sooner.

[41:22] Bruce Gotlieb: And you can always tell us and we will make a post about it to support.

[41:25] Cady McClain: Oh, that would be amazing. That would be amazing. Thank you so much. Yeah, our relationship doesn't seem to be.

[41:29] Bruce Gotlieb: Right, your family now at the end of the interview. We will continue to support you.

[41:32] Cady McClain: Good. Oh, thank you. Thank you. Last summer I did uh Shirley Valentine at Cape May Stage.

[41:39] Bruce Gotlieb: Oh wow.

[41:39] Cady McClain: And so we uh are we I'm pretty sure that it has been okay for Bill Timony and I to do another play at King Stage this coming summer. So um that's been given that thumbs up anyway.

[41:52] Bruce Gotlieb: Invite Kenny Leon. Big All My Children guy.

[41:55] Cady McClain: I know, I know. Come on now to Cape May as soon as I'm gonna do it.

[41:58] Bruce Gotlieb: I was gonna say it's what a surrounding to be. Spending the summer.

[42:01] Cady McClain: It's so magical. It's just all these beautiful Victorian houses, and they have the best ice cream like ever, you know. It's so sweet and pretty and and it's a super fun play. So I'm excited to get to do it another play. And I'm working on a new play by a guy named Eric Conver. Um, I directed it this summer at MTC Creative Center. That's all Creative Center. And so that's something that we're developing and looking to put up out hopefully next year as well.

[42:29] Bruce Gotlieb: Well, that's incredible. I mean, so much to look forward to. So much great stuff behind you, ahead of you. You know, we're thrilled for you. Obviously, you have your fans, but then separate from that, you're like the real deal, like a real working actor, and I think that's amazing.

[42:43] Cady McClain: Thank you so much. It was my dream. It was what I wanted to be, you know? Just a working class hero, you know, like John Lennon said. And if I can, if anything that I do inspires anybody to think that they can do it too, then you know, I've done my job and that makes me feel this.

[43:00] Bruce Gotlieb: And you're shaping the next generation of actors. So that's incredible.

[43:04] Cady McClain: Thank you. I'm trying. But man, they're already so good. I'm like, there was somebody in class there. I was like, I don't know what I can give you. You're really good. Like, holy smokes. Like, all right, let's start with this. Let's try something else. If I can give you another little bit of magic to your palette.

[43:20] Bruce Gotlieb: So if a listener is also aspiring vegan actor, they can sign up and they can take a class with you then too.

[43:25] Cady McClain: That's right. That's right. My Black Studios.

[43:26] Bruce Gotlieb: And where are they? I mean, obviously in Manhattan.

[43:29] Cady McClain: They're on 25th Street between 6th and 7th. So it's, you know, super convenient, easy in Chelsea.

[43:35] Bruce Gotlieb: Great location.

[43:36] Cady McClain: Yeah. Yeah.

[43:37] Bruce Gotlieb: It's fun part of town.

[43:38] Cady McClain: So it's, you know, walk around and you know, Flatiron or NoMad or yeah, down to the village. You know, we're up to Times Square. I'm always sending everybody to the Drama Bookshop, which is shout out to the Drama Bookshop.

[43:49] Bruce Gotlieb: It's funny.

[43:50] Cady McClain: So I told the students um yesterday, go to the Drama Bookshop and just to tell them that your teacher said there is material here that's right for them. And she said that there's um assistants or people that work there that will be able to look at you. You just tell them I'm looking for this kind of thing. I like that thing, and they will give you like 20 plays to choose from. Right. Because they know their plays, their new plays, the classic plays so well. I mean, they're like super librarians, you know.

[44:18] Bruce Gotlieb: Yeah, absolutely.

[44:19] Cady McClain: But even more so because it's just they have to keep, you know, there's so many plays and they have everything. They have everything that's published is at the Drama Bookshop. It's such a great place to just eat. And just kind of peruse the stacks and just see and you know, if you know an author or a playwright for one thing, there could be five other plays sitting there that you don't know about and that you get to kind of discover.

[44:42] Bruce Gotlieb: That's right.

[44:42] Cady McClain: At Mortival Books on Acting, or I also recommend always a book called The Actor's Notebook by Dennis Reed, which is the young actor's notebook because it's something that helps you, you know, develop yourself while you're dealing with your own insecurities about who you are, and then understand the protocol and how to prepare and how to be in class and that's hoping. So that's a book they sell there. Um, I think it's bit of a Bruce will always laugh at me because anytime we're anywhere near the Drama Bookshop, I make him go in because I have books that are there that I've written, and it's just oh, they're the biggest thrill of my life as a kid who went there every day pretty much, just because I loved it so much to be in.

[45:22] Bruce Gotlieb: Well, you have to tell me about your books, but tell me about your books.

[45:25] Cady McClain: I will. Well, I will send you the books if you like.

[45:28] Bruce Gotlieb: Oh my god, that would be amazing.

[45:30] Cady McClain: I have a book called The Tony Awards, that's my latest book. So I'd love to see that.

[45:32] Bruce Gotlieb: You send the Tony Awards book.

[45:35] Cady McClain: Yeah. A friend of mine actually took a selfie with that book on Instagram. They were so excited.

[45:40] Bruce Gotlieb: Oh my gosh!

[45:41] Cady McClain: Yeah. I have to see that now. I'll have to look for that.

[45:43] Bruce Gotlieb: I'll find it and send it to you.

[45:45] Cady McClain: Amazing. Thank you. Well, Cady, thank you so much for joining us. We hope it's just the first of the visits. We think you're great.

[45:53] Cady McClain: Thank you. Thank you so much for having me. Thank you so much for what you do and starting out performers and the work of all of us, you know, both behind the scenes in the theater world and in front of the camera. You know, it's really appreciated. We couldn't do it.

[45:54] Bruce Gotlieb: Thank you.

[46:09] Cady McClain: Thank you. Thank you. And really, Orson's Shadow is a very special place. So get there. You still have time.

[46:14] Bruce Gotlieb: Yes, you do. Please come.

[46:17] Cady McClain: All right, and we will see you next time on Behind the Awards.

[46:20] Bruce Gotlieb: Bye-bye.