A theater-success story takes a boy from Seattle to Broadway in tender to tough terms, for McClintic makes no bones about his non-conformist attitude towards family codes, he recognizes his era of being a ""precocious horror"", and he faces the truth as he inches up the ladder. Living a secret life in the theater with Laurette Taylor, Blanche Bates and Minnie Maddern Fisk as summits of acting and Shaw's plays as reading emancipation, he overcame the opposition and headed for the American Academy of Dramatic Arts in New York City in 1910 -- to be an actor. There are the dark to darker years when he did not click, when sordid types of show business tried his determination, when rebuffs made him seethe -- to the point that Winthrop Ames hired him -- as a stage manager. Greener than green, he learned, and held the book for many leading ladies and men, learned and found a new road to follow -- directing and producing. A humilating first production, divorce that was long in process, and finally marriage to the actress who, although she had caught his interest, he really hadn't done too much about -- Katharine Cornell -- and the next turn in the road to the achievement of his dreams, a Broadway success that, from play to casting and all responsibilities, was all his own. And, with his talented, accomplished wife -- all the steps up thereafter. More ""Me"" than Kit really, this is the elixir that is the heady stuff which keeps the kids coming to the footlights. Name and professional values definitely.