Nanette Fabray - Early Life, Education, and Work As A Child Actor

Early Life, Education, and Work As A Child Actor

Fabray was born Ruby Bernadette Nanette Fabares in San Diego, California, to Raul Bernard Fabares, a train conductor, and Lily Agnes McGovern, a housewife. The family resided in Los Angeles and Fabray's mother was instrumental in getting her daughter involved in show business as a child. At a young age, she studied tap dancing with, among others, Bill “Bojangles” Robinson. She made her professional stage debut as "Miss New Years Eve 1923" at the Million Dollar Theater at the age of three. The following year, she made her first film appearance as an extra in the Our Gang short Cradle Robbers. She spent much of her childhood appearing in vaudeville productions as a dancer and singer. She appeared with stars such as Ben Turpin.

Fabray's parents divorced when she was nine, but continued living together for financial reasons. During the Great Depression, her mother turned their home into a boarding house, which Fabray and her siblings helped run. In her early teenage years, Fabray attended the Max Reinhardt School of the Theatre on a scholarship. She then attended Hollywood High School, where she graduated in 1939. She entered Los Angeles Junior College in the fall of 1939, but withdrew a few months later. She had always had difficulty in school due to an undiagnosed hearing impairment, which made learning difficult. She eventually was diagnosed with a hearing loss in her 20s after an acting teacher encouraged her to get her hearing tested. Fabray said of the experience, "It was a revelation to me. All these years I had thought I was stupid, but in reality I just had a hearing problem."

Read more about this topic:  Nanette Fabray

Famous quotes containing the words early, work, child and/or actor:

    [My early stories] are the work of a living writer whom I know in a sense, but can never meet.
    Elizabeth Bowen (1899–1973)

    Any work that aspires, however humbly, to the condition of art should carry its justification in every line.
    Joseph Conrad (1857–1924)

    It hurts me to hear the tone in which the poor are condemned as “shiftless,” or “having a pauper spirit,” just as it would if a crowd mocked at a child for its weakness, or laughed at a lame man because he could not run, or a blind man because he stumbled.
    Albion Fellows Bacon (1865–1933)

    While we look to the dramatist to give romance to realism, we ask of the actor to give realism to romance.
    Oscar Wilde (1854–1900)