 Hi, today's episode of We Are Only One is brought to you by mountgox.com, ntgox.com, and Thank You Economy Book.com. That's Thank You Economy Book.com. Hi everyone, I'm Jude Byrne. Welcome. We have a wonderful guest today. We're going to be talking about the arts in particular acting and spirituality. And it is my honor to welcome Sally Kemp, actress of stage and screen, to our set. Welcome. My great joy to be here with you. I have been looking forward to this. And so have we, Sally. I wonder if you could tell our audience a little bit about what first drew you to acting. All right, you really want the first thing. I do. My father was an orchestra leader, so I was always surrounded by sort of theatrical people as a child. And the first movie, because I'm really, really old, that I was ever taken to see was Goldwyn Follies. It was in Technicolor. And the only thing I remember about this movie was there was a scene and there was this beautiful lily pond and a Greek temple all around it. And all at once out of the middle of the water rose there's Zorina, the great ballerina, out of the water. And she started dancing and I went, I was about four, three or four. And I grabbed, I had a governess there, a Swiss governess. I grabbed her and they said, that's what I'm going to do. It was very, very definite. The only problem was that all the years my father died when I was very young and my mother just never bothered to let me have dancing lessons. And I kept begging, I want to dance, I want to be a ballerina. And she just couldn't be bothered. So by the time I was 18, or I was in, no, but I was doing all sorts of plays in school all the time. Still longing to be a ballerina. And by the time I got out of finishing school, I went to finishing school. I'm from another generation. And was able to make some decisions. I was given a choice. I was told I could go to any of the colleges that had accepted me, and they all had because I was really smart. Or I could go to Paris and spend a year at the Sorbonne. Or I could make a debut. Those were the days when you made debuts. Or I could go to the American Academy of Dramatic Arts. Well, I went to the academy. I was hoping they would have ballet, but they didn't. So I got myself into a class that Hanya Holm, the great choreographer, taught. A dance class. It was modern and ballet. I was 18 years old. I was going to the academy all the time learning how to act. Going there. And I didn't realize that in this dance class were all professional dancers from Broadway. And for about two weeks, I kept up. And then I just that was the end of it. No more soon. My dance career ended very quickly. But my acting career continued because it was it's related. So if I couldn't dance, I could tell stories. And that's what actors do. Because human beings love to hear stories about other human beings. That took me a while to figure out that's that's what we do. We tell stories and that's what keeps people. That keeps people kind of sane, I think, in a way. You go to a theater. Most of my work's been in the theater. I've done a lot of television, but it's and I love it, but it's not the same because it's this this thing that happens from the stage to the audience. It's like a it's like a conveyor belt. You're on the stage and you're sending out the story, whether you were a villain or a heroine, and I played both. I'm really good villain because partly because I learned very quickly. I can't remember some wonderful teacher I had said, if you're playing a villain, you've got to find something in that person that you like because villains don't know that they're villains. They believe they're right. And so you always have to find that the human thing. We're not just good or just bad. So all right. So you're playing and you're sending it out and hopefully with love. And if the audience likes it, there's ending it back to you with love. And it just becomes this wonderful, loving thing. Is it palpable when you're on stage? Yes. Can you feel the energy? Oh, God. Oh, yes. And you could feel when it's not working too. Sometimes it doesn't work. And what do you do? You if you're stupid, like we most of us are, you work harder to try to make it work. And that just makes it worse, usually. So if you've got. Sometimes you never get them back. If you lose them, sometimes nothing will bring them back. And it's not always your fault. And then sometimes at the end of a performance where you think, oh, my God, we lost them. They hated it. You'll get standing ovation because sometimes they're really just listening and paying attention and aren't particularly demonstrated. But yes, having an internal experience. Yeah. Yeah. But it's better when they let you have something. Oh, yes. Feel the love. Yeah. I. More and more. I've I've been a professional actor for 60 years over 60 years. I started when. I started when I was 18 and I'm 78 now. So what does that make it? I don't do math. 60 years. 60 or so 60 years. I'm going on to 60 years, 61. Congratulations. Thank you very much. Thank you. And I have heard you do Hamlet. Pretty awesome. I have to share with our audience. Yeah, that you're fabulous. Shakespeare would be proud. I'm glad because I adore doing Shakespeare and I love Sean. All the classical stuff I was trained for. Yeah, Hamlet. I go to. Well, we met at Unity and the minister, the founding minister of our, the unity that we go to. Paul Tonalia was originally a singer, dancer, actor, director, a real theater. And he still is a total theater animal. And I met him when he had his first church in Santa Fe. And I was going through a really bad time in my life. And a friend, old friend of mine, Ruth Worry, who who played Orson Welles first wife and citizen Kane. Well, she, old, old, old friend of mine. And she came to do because she was a unity teacher. She came to do her one woman showed as a fundraiser for Paul's church. And she came to see me. She walked in the door and she went, oh, you're in terrible trouble. And I said, I'm miserable. Don't talk to me. And she said, I'm taking to church. And I said, no, no, no patriarchal stuff. She took me to this room in Santa Fe were about 20 people. And this young man came out with a beard. But he started talking about loving about God being within each of us and not something on the outside. And that forgiveness. Oh, God, that was a big one. Because when I heard that I had to forgive the people who were hurting me so much. My first instinct was, no, I want vengeance. But he can't. Anyway, I was hearing him say things that except for the forgiveness part that I had believed all my life, but I had never heard anyone in a church say in quite the same way. It was always you will be forgiven. You have to watch out and don't sin because you'll be punished. He said, no, there's no there's no sin. You sin is when you are separated from God. The God within. There's no punishment except the punishment that we so brilliantly give ourselves. And so I sat there and I started to cry and I went every Sunday and I cried until finally there was a lovely old couple who came every Sunday and they would bring a box of Kleenex and they just had me Kleenex and then Paul would call me at home, are you all right? And he almost always hit a time when I was having an anxiety attack or I just talked to my about to be ex-husband. The one who was the source of all this pain it took me a long time until I figured out he wasn't the source of all my pain. I was the source of all my pain. But that was the teaching that Paul gave gave me and he would come and he would pray with me. He'd pray with me on the phone. You'd sit and pray and then he left. He went to San Francisco and he would call. Are you all right? Yes, I'm getting better. I'm all right. Have you forgiven working on it and working on it? And then he came to New York and he said, well, when are you coming home? Because I had started in the theater here. I had been on Broadway in a glorious, expensive, beautiful flop about the Prince Regent of who became George of England. Anyway, half of the Royal Shakespeare were in the company. But the leading man was Walter Slasak, whom I don't know if you remember from movies, but he was sort of a plump, genial, Viennese. And he was playing the Prince Regent, who really was a bit of a bugger. And Walter didn't want to not be loved. So the play just went boop, boop, boop, boop, boop. And it was the most expensive, non-musical that had ever been on the stage. I mean, there was one scene that was set in a bright and pavilion where the royal family used to spend holidays. And I went on the set. I thought, that looks like Royal Crown Darby, the dishes on the... And I picked up a cup, and it was the real thing. The prop master came running up and said, God, don't touch it. Everything on the stage is the real thing. I said, it's all right, my great-grandmother had Royal Crown Darby. I'm used to it. I won't hurt it. So, you know, and then I was in advice and consent. I played Richard Kiley, who died a few years ago, his wife. And then I married, again, a wonderful husband. And he made me come and live with him in San Francisco. I'm just saying, no, I don't... And did you act there when you went to San Francisco? Oh, yeah, finally. I had to, because I was gonna die if I didn't. Well, you have all these emotions inside. I imagine it's a very good outlet. And a lot of skill. By that time, I'd been very well trained at the American Academy. And I had done a lot here in New York and in summer stock and stuff, which is brilliant training. And I got there and suddenly I'm... I have to be a lovely hostess. And I'm in this beautiful apartment, 14 rooms, 14 rooms. I'm on a whole floor in this room. And this divine husband, who was a writer, he had an advertising agency in San Francisco. And one day, we were driving to a dinner party across the Golden Gate Bridge. And halfway across the bridge, I had this... I thought, oh my God, I've lost myself. I don't know who I am. I felt I'd been sucked up by this brilliant, extraordinary man, but I didn't exist anymore. And I told him that I thought I really had to act. Well, he allowed... Then the actor's workshop was... It was the beginning of the regional theaters that became so marvelous. It was one of the first ones. It was in San Francisco, and they had been invited to some European art festivals even, which was kind of amazing. So I got brave, because I'm really kind of... I know, I'm really shy. I'll never believe that. But I really was then. Now that I've gotten old, I'm not so shy anymore. I realize everybody's shy. But I do have several friends who are actors, and they are shy. And I often wonder, is that a freedom that acting gives you to step into a whole other reality? And... Great question, because I've discovered... I thought it was just me, but I discovered that almost all actors... The ones who really are serious actors, who don't necessarily make very much to live, but who work at it, are usually shy people. Who feel safe. You're safe when you're on that stage. There's a fourth wall between you and the audience that cannot be violated, or is not meant to be violated. So you're protected. So you can be there. You can tell whatever story you want to share. But they can't step on that stage as sacred space. And it really, literally is sacred space. Because on about my third or fourth trip to Greece, I'm mad about Greece. Anytime I have any money, I go to Greece, and people say, why don't you go to Paris? I say, Paris is lovely, but Greece! I think I've had a lot of past lives in Greece. I have, isn't it? I think I have, too. Yeah, probably. We probably did. But I think it was the second time I'd been to see the great theater at Epidavros. And I'm standing on the stage and my daughter was with me, and she was way, way up on the top, the very last row. And she said, mommy, say something, do something. So I started, I think I started something from Shakespeare, I can't remember what it was, but I was just using an ordinary speaking voice, not Hamlet this time, because I hadn't played Hamlet yet. And it went up and the guide said, you're standing in the center of the stage where the altar stone always was. And I said, altar stone? Yes, every stage in the ancient theater, in the ancient world had an altar. Well, of course, because theater came out of religious ritual. They're related, so no wonder the stage is a sacred space. And more and more now when I go and when I work with young companies, because now I'm usually the oldest person in the cast, which is fun, because I could sort of tell them what to do a little bit sometimes. My dear, if you want to have a proper career in the theater, do not have tattoos that have to be covered by makeup. Don't do that, stupid girl. And no, no, not that mean, but what was I telling you? I was telling you something, shoot. The ritual and grays? Oh, and more and more and more and more theater companies. The actors now openly will talk about this is sacred. Sacred space. Sacred space and the work we're doing is sacred. I didn't hear that when I first started in the theater. I mean, I knew it, but I felt it and I thought, and I just used you being silly, Sally, because when I was little, I used to run around in the woods. I was supposedly an Episcopalian, but that didn't work. So I'd run in the woods in my parents' house in Maine or the house in Connecticut, and I'd build altars to the wood nymphs that lived in the trees and the spirits of the little river that went through. That was real religion to me. Yes. But that's where theater started, in the woods and in the groves and in the forests and by the rivers. And that's when people began worshipping nature, because they lived in it so much more than we do now. Yes. And if there was a drought, they starved. And if there was a terrible storm and everything got beaten down, all the crops were, they had to blame somebody. So they blamed nature spirits and nature gods and they tried to placate them. And often with offerings of fruit and flowers and killing animals, which is horrible, but singing or dancing and creating rituals. And that's what the theater came out of. I think the, I was thinking about the ritual and how that could imprint someone. If you're brought up in a certain tradition and you get attached, is that really the truth? I wonder if that may be some of what's happening that's wrong in this country today. People who haven't thought, but they're so attached to the teaching, to the ritual, that they don't see beyond it. They don't grow beyond it. I actually have a friend who came from a non-traditional background and he joined one of the more traditional religions because he liked their ritual. And I thought, what about what they're saying? Yeah. Oh God, yes. But, and then linking theater with ritual, I think that's part of how we get so transported when we go to a wonderful play or see a great film. It takes us into another reality. It does. You know, and often a quite delightful one. You reminded me of something when I first came back to New York after living in Santa Fe for years. I came back 14 years ago to New York. And this was, I'd gone a couple of times to Paul's Unity at Lincoln Center, but he didn't speak every week. So I tried going, because I'd grown up, supposedly, at Biscay Bay, and I'd tried going to, oh, to beautiful St. Bartholomew's on Park Avenue. I love that church. Mm-hmm, that's beautiful. And I went to the first service and I found I couldn't say, I couldn't bring myself to say to the Nicene Creed or any of that, because I no longer believed any of that. And I thought, I'm gonna wait, no, no. I don't believe God's out there and I don't believe that Jesus was killed for our sins, for my sins, and I certainly don't believe that babies have any kind of sin. So yeah, I loved the music. And I liked the ritual, but I couldn't say the word. So I'm happy in our church, which is the best show on Broadway on Sunday mornings with a jazz combo and singers from everywhere. And so much talent, speaking of acting and singing, and since we're mentioning it for people who aren't aware of it, it's Symphony Space on 96th and Broadway, Sundays at 11, 95th. Thank you, 95th and Broadway, wonderful. And you will, from time to time, hear Sally performing. Well, that's when Paul makes me do Hamlet. Well, I thought you were fabulous. He made me, I did it the first time at his little church in Santa Fe. He came to me one day and said, I'm doing a talk about the metaphysics of Hamlet and would you do to be or not to be? And I said, no. He said, no, really, I need you to do it. The only professional actor I've got and it doesn't matter that you're a woman. I said, you're quite right, it doesn't matter. I thought, this is the greatest speech in the English canon and what am I gonna do? And I really worked on that. I broke it down phrase by phrase. What does this really mean? I mean, people always saying to be or not to be, that is the question. Duh, he's thinking about it, to be, to be alive or not to be, that is the question. And when I broke it down, it made sense to me finally and I did it and people came up afterwards and said that's the first time I've understood that speech. Because almost everybody has seen somebody somewhere do Hamlet and so when Paul asked me to do it again here, I not only had already worked on it but I had a whole lot more years of thinking because I'm getting closer to maybe not to be pretty soon and I think about mortality, my mortality and I think, how do I really feel about all of that? And that invested the reading. The reading was not as good as it would have been if I'd been in performance because I had to go and just get up there and do it cold but that's another thing, good theater, good writing really makes you as an artist, as a performer, study more. I mean, you never stop because every role that's handed to you is something different, something else, even comedies. You find so much stuff and as you're getting older and I don't know how many more years I'm gonna be alive and I certainly am looking forward to dying, I think it's gonna be a lot of fun. I do too. But I know that my daughter and grandson and my grandson is six and a half almost and they're gonna miss me a lot. So I'm gonna stick around as long as I can for them but I really, it doesn't bother me at all that thought. Well, because didn't we talk about it once that I'd done past life regression work in Santa Fe before I came to back to New York? I'm not sure if we did or not. We might have mentioned it, but... Because, well, I uncovered about six lives before I had to come back here and at least two or three out of six had been in Greece. One, I'd been a priestess who was thrown off a cliff for having taught girls, educating girls because women weren't supposed to be educated. My feminism began, I was an early feminist. I also had been a priest in Egypt and I was responsible for having my brother, the Pharaoh, murdered because I believed that he was leading the country in a dangerous direction. And ever since then I've thought, wait, was that Pharaoh Akhenaten who separated from the Greek multiple gods and founded his own religion of the aton, just one god, the solar disk. Absolutely transformed Greece and Egypt into a chaotic mess. I mean, people were horrified. Their gods were taken away from them. They'd had him for thousands of years and suddenly he was saying, only one. He was the father of Tutankhamun whose name was originally Tutankhamun because he was the aton, he was the son of the aton. Then when his father died, we don't know quite how. Technically, we really don't know whether he was murdered, whether he died of an illness or what, but suddenly Akhenaten disappears from the stage, he's dead and his young son, Tutankhamun, becomes Pharaoh and he decides to save the country and reunite everybody and go back to the old religion and add Amun to the end of his name. So he became Tutankhamun. And I wonder if I in that life was responsible for murdering my brother Tutankhamun. I just, I don't know, but I like to think about it. I'm just saving the world, I've been, you know. Well, I think that's part of the fascination with acting and films and performances is that we get to try on other realities, right? And whether in our imagination, if we're the viewer, we're experiencing it, you're a medium, you're channeling another reality for us that's the joy of it, yeah. And then that's the reason why I started doing, I did the past life work, because this woman who does did it, she's gone now. She kept, I kept meeting her at parties and she kept saying, I want to do this with you. And I kept saying, you don't really, I'm an actor and I'll take anything and improvise with it. And I don't know. She said, that's why I believe that artists have more access to what their past lives were than people who aren't. This is why you're able to be an artist. This is why you're a musician or a dancer or an actor or a painter even. And I think after having done it, I think it was true. I would like to, I need to take a break now and thank our sponsors. And then I would love to get back and hear about the creative process, what you go through because you're saying, you know, actors have a lot of accessibility. How does that, how do you develop that? And if you could share with people who have never acted, what is that like, you know, like a day in the life, your creative process, when you are going for an audition or you have a role, I think of, I would find that fascinating to hear. Okay, but first we're going to thank our sponsors for their generous support in allowing us to be here and be accessible to many of you and sharing wonderful, wonderful insights from people like Sally. So the first sponsor I'd like to thank is mountgoxmtgox.com. Mountgox enables you to buy Bitcoin from the comfort of your home. It's the largest online exchange service. They now take euros at the British pound, the Australian dollar and the Canadian dollar is on its way. And they have a mobile app on the Android market, which allows you to use Bitcoins on the go. And if per chance you have not heard of Bitcoins, you need to check out our show every day with Bruce Wagner, one of the founders of Only One TV. And our second sponsor is the Thank You Economy by Gary Vaynerchuk. And I'm going to spell Gary's name. It's G-A-R-Y-V-A-Y-N-E-R-C-H-U-K. And Thank You Economy is an amazing hybrid of modern day consciousness with old fashioned customer service where Gary really helps us see, go back to the old fashioned values that emotionally engage the customers, gave superior service, really cared about people. And yet he combines it with very savvy social media marketing techniques, how to get ahead. So the Thank You Economy is one of the latest books and it's been highly recommended by members of our staff. And so we wanna thank you for your support. So Sally, if you would share the creative process. It's a big one, that's a very big, we need several more hours. I was, well I was trying to, as a very small child, I learned to read by the time I was three. But also my mother and both sets of grandparents were great avid, I mean we devour books. And as a child, always somebody read stories. And always I would act out the stories. I would get my little brother or I would get neighborhood children and we would act out the stories. I was never, I remember I saw a movie with Maria Montez, this is before your time, called Gypsy Wildcat. I was Maria Montez, she had an accent and she had turban, she wore turban, she was very beautiful, she had green eyes. And I have green eyes so I thought, wow, I was about 10 out of freckles and red hair and I had green eyes and I made a turban. And I was the Gypsy Wildcat for a long time. That was just became, that was just innate, I just did it. And I knew I was gonna be an actor as soon as I couldn't be a ballerina. No, I was gonna be an actress and a ballerina but when ballerina disappeared by that time I was already, already acting. When people would ask me about the process when I was young, I was very flib, I would say, well, you read the story or the play and then you pretend you're the character. That's pretty simple, that's all you do. Some people just aren't very good at that and now, now it's gotten scary because it used to be, people would call me into replace people on a minute's notice because I could learn scripts very fast. And I was facile, it was easy for me. But now I've gotten old and I look at a script and I think, oh my God, there's so many different ways, so many layers, so many different ways this can go that aren't in the text but as a living human being, this is a human being that I'm going to try to portray and all I have is what the author has written and that's what I have to honor. I get very, very upset with actors who rewrite what's on the page. Somebody labored over that and then I start really taking it apart and taking it apart and thinking, no but maybe as a human being, if she's desperate to get through to her daughter, or my daughter, she sees her daughter as going in a dangerous direction but they have a difficult relationship and the daughter doesn't want to be told what to do. How can I attack it to really get through to her? There's so many ways. So you go mad and then you get into rehearsal and the other actor may have whole other ideas about how that should be done and the director has a different idea and your duty as an actor is to honor the text and obey the director unless you convince him that maybe something else might be a better approach which that doesn't happen until you've been doing it for a long time and then sometimes they'll listen. So that's not discussed usually. Yeah. Do you get a certain direction? No, if you've got a good director, you initially, the initial rehearsals are a lot of exploration, a lot of discussion of where something's going and what is needed from a character. Is this person, no, no, no, you're too strong or you're showing that you know too much, you're too knowing, you're too wise. You've got to dumb it down here. All these different things that comes in in the beginning and then you go deeper and usually a good director and I thought I've been blessed. I've worked with wonderful directors for the most part. One or two who weren't too divine, but that's all right. We have recovered, we survived that. But some wonderful ones and as you get older and more experienced they will listen if you say recently I did a wonderful play. I usually am given the big flamboyant roles but I wanted to play a middle-class, Midwestern American woman. I played more Brits than I have Americans. And so I did a wonderful play called Mornings at Seven, A Little Housewife, a little whose marriage is sort of meaningless and dead and whose son is a, I don't know, her life is kind of, I wanted to learn to do a middle American accent because I'd never done one. Something different for you. Yes, it was fascinating. I found myself getting smaller and more timid and I didn't move my hands as much and everything was so weighty for her to get a dinner on the table. Was it a terribly difficult, a heavy, heavy task and to even try to begin to understand her husband who really wasn't interested in her. It was wonderful. As a stretch and internal stress for you. But then there's a scene where he says he's going to leave me and the director wanted me, and I'm begging him, you can't leave me. I'm begging this man and the director said, no, I want you to face front, face the audience when you're doing that. And I said, I can't, I can't look at the audience there and beg this man to stay with me. I mean, there's no connection. It's not possible. And we had a big discussion. And I tried it a couple of times and I couldn't make it happen. I'm trying to please him. And I thought, oh God, damn it, because this is such an important moment for this character. And on opening night, he came backstage finally and he said, play it the way you want to. Ah, opening night. And I'd been trying all these other rehearsals to do it his way. And everything in me was, it was wrong. My body didn't want to do it, my... So it's very instinctual. Yes. Very instinctual. And once you've worked on a role and you've studied it, it becomes more and more. You don't live it. You don't actually become it. But you live it to some extent during the hours of performance, you have to. And in rehearsal for hours and hours while you're putting it together, it's like a huge jigsaw puzzle. What is this? This is another human being, not like me. She eats different things for breakfast. I can usually tell you what any character I play has for breakfast or what's in her lingerie drawer or because you have to fill out their whole life. And you do that inside. I do it inside. Some actors write it all out. They write whole bibles or about, I don't, I just know. You can stop me in rehearsal and say, oh, what color are her panties? And I'll tell you they're green or whatever. But you have to be able to stay open. And this is a very, very hard thing for actors because good ones, and there are so many of them and they're so brave because they live with rejection all the time. I mean, for every job you get, you lose, you don't get dozens of other ones. But every good actor has to stay open. You have to, your heart, this is why unity is very good for actors. You have to keep that open. You have to keep your intelligence open. You have to be willing to listen and to receive what comes from on the outside and from the script and still survive being rejected or having an audience not respond to you. Actors live a life constantly balancing their sensitivity and their... I would think it would be so difficult if you had any self-esteem issues whatsoever and who doesn't at some point in their life. And you could be, as you said, rejected for something, you could be fabulous, but you're just like the wrong height or the wrong something that you can't transform. Yep, nothing you can do or think about. And how, I mean, did you have a strong internal value system? No, I was... You know what kept you sane? My paternal grandparents and summers with them, they loved me. The perspectives that you had. I had very low self-esteem, for the most part. I was very shy. In fact, one of the first things I did, Elizabeth Montgomery, who was bewitched, she and I were, we were very close friends, we were in drama school together and her cousin is still my oldest friend. Elizabeth and I became very dear friends when we were at the academy and her father, Robert Montgomery, Robert Montgomery presents as a gift to us when we graduated, he bought an enchanting story. There was a movie and a play made of it called Our Hearts Were Young and Gay about Cornelia Otis Skinner, who was the daughter of the great stage actor, Otis Skinner, and her friend Emily Kimbrough and their first trip to Europe in the 20s. And we did it on his show. And I hadn't seen it since 1954. Until a few months ago, somebody sent me, they had found an old, what were they called before they had? Reels? Not a reel, no, it was a, it was live television, kinescope, someone had taken a thing from a Kenny and sent it to me and I'm watching this thing. Cliff Robertson played my boyfriend. But I'm watching it and I think, oh my God, you were still so shy. You were still so insecure and so unsure of yourself. There was this, I moved like a geisha. I was almost- I'm sure it had a charm to it, though. Well, it did because she was young and innocent, but I'm watching it and seeing really Sally, who I was still living at home with my mother. And that was hard. Mummy was a great beauty and a great wit and a great alcoholic, which wasn't recognized in those days. And didn't like having a daughter who grew up, who didn't want children in the first place. And then the fact that I grew up was not a pleasant experience for her, bless her. She's long gone, I'm forgiving Mummy. But it was so interesting to see I hadn't formed, I hadn't found it yet. I hadn't found my core yet. I could act. It was believable, it was sweet and it was charming. But I would've, but it had no, she was so easily wounded. And getting old was really good because then you find everybody else is easily wounded too. And that makes it easy. You don't have to be so easily wounded. You can comfort them and make them better. We're all very vulnerable. Oh my God, we are. Yes. Just don't marry them. I married too many broken wings and then blamed them for not becoming what I hoped they would be. I'd like to. You'll be shut up now. I do not, totally not want you to shut up. I wouldn't have invited you on this show. What I'd like to do, I know you have a website and I'm wondering if it's possible that maybe we could put that up and we could. It's not much of a website. We could just mention your address. That's my picture. And let people know how to get in touch with you. Well, they can get in touch with me through my agent. Which I think are on another page there. I like that picture because it didn't have to have any retouching. It shows the wrinkles. See? That's a great picture. The old character line. Poor old thing. Bless her heart. And let's see what the address is here. No, that just tells you where to go. Okay. Work gallery. Wait a minute. Okay. Here's some of your place. What's your mention? That was measure for measure and that was a play called the Marquis. This was the Enchanted April on stage. These are all reviews telling about how wonderful I am. This advice and consent directed by Tyrone Guthrie. My first Broadway play. And then off Broadway. Some things but they don't tell me, they didn't put up advice and consent. Where somebody else did this. Okay. No, wait. Do we have an address? I don't know. I know somewhere there's something with my agent on it. He's looking. Sally Kim. Dot net. That's S-A-L-L-Y-K-E-M-P dot net. For those of you who are enjoying this and want to contact Sally. And she is in New York. There I am, that's me. And she's fabulous. I'm fabulous. And she's available. I'm available. I'd rather work in, I'm really rather work in New York. I am tired of backing up and going to other theaters but if it's a good play and a wonderful part. That was my first Lady Bracknell and the importance of being earnest. I was 40. That's a great shot. You like that role, you say. Oh, I love that role. I've played it four, I think three or four times. Yes. And it gets, and I hate it when drag queens play it. Oh, this was a, this was, oh God, this was on hope and faith. This isn't me. I wish my hair would get that color. That one with the big bosoms is me. Very stylish. Oh, wait, wait. Oh, here's the one who got, who was so beautiful. The little, yes. That's my little Midwestern little housewife. Oh my goodness. I would never have known that was you. I know. So you really totally transform into another person. I was very proud of that. Yeah. And you say, while you're rehearsing you feel that but then you personally would let it go when you would go home. Oh, yeah. Or would you, you wouldn't carry that energy except when you're setting the lines alone and you're working on it, you do. But you can't. You can't. Yeah. You can't. Mansion. I think it would, that's where people go crazy if you try to do that. That's not very healthy. Right. It's like, which one's for you? Oh, this is, oh, my exquisitely ravishing daughter. Oh, right here? That's my daughter. She's beautiful. And that's me. I did in Los Angeles at the Mark Taper. I did Richard III opposite Rene Aubertionois who played Richard and I played Queen Elizabeth who is usually cut out of it. She's the leading lady of the play. She's the only person in the whole play who stands up to Richard as this great confrontation scene. And so I came back to New York and a friend was doing a production of Richard III in the park and he had met my daughter and he said, oh, he called one day and she wasn't home and he said, well, I said, who are you? And he said, well, I'm directing Richard III in central. I said, that's my play. He said, I want your daughter to play Queen Elizabeth which was the part I played in LA. And I said, no, that's my part. And he said, who are you? I said, I'm her mother. And he said, who are you? And I said, I'm Sally Camp. You've never heard of me. He said, oh, yes, I have, I'm from LA. Would you be willing to come in and read? He said, I've turned Queen Margaret, who's crazy, and the Duchess of York into one character and they go after Richard too. Oh, what fun. So we both did it in the park. Oh, wonderful. Yeah, and we would have to go to the plaza which was still a proper hotel. Oh, love the plaza. Well, they've destroyed it. They've turned it into condos and they messed up the garden court or pop court or whatever. Don't you agree? It's awful. My good husband, my wonderful, the father of my daughter courted me there. Oh, that's a charming quote. Anyway, we used to have to go to the ladies' room at the plaza in costume. And people would say to me, sister. So I bet you had a good time with that. We had a great time. Only I can't do things out in the park anymore. Bugs fly into your mouth unless it would be at the Delacourt. That would be fine if my old friend, Dan Sullivan, would just, oh, that's, you know, I played it. Which is this one? This was a play called, world premiere of a play called A Young Lady of Fashion, about a young Irish girl. This, I'm playing a French mob keys who's advising her about men there. You can't see that dress. It was gorgeous. It was emerald green satin. Pretty. But it hadn't been finished when this picture was taken. I had red hair as you can play this. Yeah, it's beautiful. I come from many redheads. Oh, yeah. I choose. This was at South Coast Repertory, a most wonderful, my favorite theater in the whole wide world. That's me. This was Arms in the Man. And I was very funny in that. Yes, yes. And what's that? Oh my gosh. That was gun smoke. No, it was bonanza. Bonanza. Young, oh God, he's had a wonderful career. And I can't remember his name. Yes, I know, yes, I recognize his face. I can't remember his baby name. He was so sweet and so young. Yes, yes. Great, great shot. Yeah, I'd just been shot. And he was trying to rescue me. Oh, this is Richard III. That's me and Rene Aubertion. Rene was wonderful. And we were, one night we came up after that big scene and we were walking at the end, and we were walking to the parking lot. And I said, oh my God, why him tonight? He said yes, he said it was, but you know something. No matter how good we are, Shakespeare's always better. He was right. Was that a signal that this was something? Not at all, no. Oh, and this is, somebody's doing. Shaw, George Bernard Shaw. You never can tell. And that's me, oh that corset. Oh, look at that. Yes. Oh, I had wonderful costumes. I spent, oh, this is, do you recognize Imaging Coco? Yes. This was a movie that never went anywhere, a little movie where we played bag ladies. Oh. Me and Imaging Coco. And she was almost completely blind. Oh, what a dear soul, huh? I adored her. She took me and the other actress, there were three of us playing bag ladies to dinner one night. We were on location, I think in Texas someplace. And she said, you know, she was Italian. She said, I hear this, an Italian restaurant. I hear it's very good. This is a perfect Imaging Coco story. So we get to this restaurant and it's strange. You walk in the door and you don't smell garlic or anything, which is odd for an Italian restaurant. And we sit down and we order wine and we order food. And we still don't smell garlic, but we're sitting and the food arrives on the table and we take a bite and it's absolutely tasteless. And Imaging said, cost the waiter over. And she's almost completely blind. She looks up and she said, I have the check, dear. And the waitress went and got the check, came back and she signed it with a big, big tip. And she said, we're going now. And the waitress said, do you want me to wrap up this food? And Imaging said, oh, no, dear, you can keep it. And we went back to the hotel and had room service. Oh, she was having a little creature. Yes. This was, oh, yes, that was arms in the man again. I was being rather arrogant there. Oh, and this was at the Pearl Theater here in New York, Nathan the Wise, that's kind of an, not Israeli, but an ancient Middle Eastern housekeeper. I did that in tandem with, I forgot the name, Restoration Comedy. Well, anyway, that's gone. That's backstage, you can plainly see. Yes. Well, quite a variety of realities. That's, oh, here, my agent is Brett Adams. Brett Adams, 448, West 44th Street. And the phone is 212-765-5630. And the website is Brett Adams Ltd. So that's B-R-E-T-A-D-A-M-S-L-T-D dot net. Yeah, and I don't do commercials. My commercial agent's in California. I did voiceovers, but no, I never got commercials. And I've shrunk. I'm not five, five and a half anymore. I used to be five, six, and I'm not five, all five, four. Disgusting. And my hair is getting more gray, and my eyes are still green, but withered. Not at all withered, you have so much vitality. Well, I've got a bunch of awards. Let's go to the awards, if we could go down a little bit. And let's- I got a lot of six Dramalog awards and five Robby awards. Bravo. So those were all in California, bravissima. So what would you, what kind of advice? To give to young actors. It's the same thing. I'm not alone in giving this advice. If there is anything else on this planet that you would like to do more, do it. This is heartbreaking. This is hard. It's not just all glamorous. It's hard, physical hard work, mental hard work, and the rejection is ongoing. Even Betty Davis had to run an ad in, and I worked with her once. Oh, God, she was heavenly. Tiny and scary, those great big eyes. Scared everybody to death when she said, good morning, you said, oh, it's morning, yes. She had to run an ad in variety to try to get work after she'd been a star for years. I mean, it's just brutal. So it can really are drawn to paleontology. Do it. I say, I'm gonna be an archeologist in my next life anyway, because that's far more interesting. That he was. Sorry. And now share the wonderful feeling of having a sublime experience on stage and totally connecting and getting a standing ovation. Share that, how is that? Can you put that into words? It's nothing like that, it's better than, as I recall, sex. Because it's everything, it's amazing. Yeah, it's amazing because it's when you believe, sometimes you're wrong. It's when you believe that you have really done it that night, you have really hit, you've hit it. You've hit all of the marks, you've done everything that has to be done, and more, and they've gotten it, and they've seen it, and they've heard it, and they've loved it, and they've sent that love back, and there's nothing like it. And you may come off stage after that and be told, you were a little down tonight. So, it's like trying to have heard. Please. Please, yes, yes, there's no security, not at all. I'm a poor old lady now, longing for a wonderful role where I don't have to wear tight shoes. I don't mind corsets, but I don't want high heels or tight shoes anymore. But we also know too, from the truth teachings, that you are a very prosperous woman as well, in friends, and love, and family, and consciousness, and your health, and your beauty, and your vivaciousness. That's because I've taken very good care of everything. Yes, well, a joke. And I'm finished. That's done wonders for me. No, I know, I'm so blessed to have this incredible community of friends and people here. And I get to go to California twice a year and spend a month each time with my daughter, my heavenly, beautiful daughter, and my grandson, who is six, and is a born after. Say hello to them, what's her name? Sarah Luck Gossage, my daughter, and Aidan Luck Grimm, and my son-in-law, Joseph Conrad Grimm, whose the story is that he's descended from the fairytale grims, which seems to me to be suitable in this family. Well, hello to all of them, and thank you for the blessing of your company today. Really, you shine, you radiate. So do you, my darling, thank you. And it's been fun, I'm so glad you thought of this. It's been a lot of fun. And I just wanna thank everybody for tuning in and have a beautiful, blessed, radiant week. Signing off from OnlyOneTV.