THIS WONDERFUL LIFE BACKSTAGE GUIDE 7 Henry Travers / “Clarence” “I have a definite physical and emotional response with Clarence. My body goes up, reaching, welling. My chest opens, my arms open, everything goes in an upward way. It's a goldfish response. A goldfish has no memory, so it is always wide open to surprise. Ooo, a diver. Ooo, a treasure chest. Ooo, a diver. Ooo, a treasure chest. Clarence tries so hard with limited ability, which is a lovely obstacle for an actor. You use all the skills you have, and they don't add up.” Donna Reed / “Mary Hatch Bailey” “It is trickier playing a woman. She has a wise quality. She's the reason George stays in town. It's her love and her heart. And, holy crap! Donna Reed is gorgeous! Even though George doesn't know it, it's Mary and it's home that save him. Physically, she's utterly grounded, and her strength flows from that. She doesn't let George off the hook. You can see that power.” THE BACKSTORY WITH DIRECTOR CARMEN ROMAN  If I weren’t an actor: I would probably be doing some sort of social work like the Chicago Theater Bike Ride I organize now or the troubled teens summer camp, Youth Farm and Arts, that I want to create.  Childhood nickname: I suppose some people called me Carm, or Carmie, like they do now.  Best career advice I’ve received: Well, my father told me to learn to type. That definitely inspired me!  Favorite part of the job: The suspenseful moments on stage when it feels like no one knows where it may go and you can feel that ripple in the audience.  Worst part of the job: A bad audition.  How I made my first dollar: Waiting tables.  Last meal you’d want: I'm not sure I'd be hungry if I knew it was my last meal. I'd probably put it off.  Favorite item of clothing: A comfortable pair of shoes.  If you could invent one thing: A love gun.  One of my hidden talents: I'm good in the kitchen. I make an excellent hummus, a mean pesto, and yogurt. Director Carmen Roman Henry Travers in “It’s a Wonderful Life” (1946) Donna Reed in “It’s a Wonderful Life” (1946)