When Candace Marie Woods was 11 years old, her classmates called her the "N-word." They were assigned to a group project with a boy who hurled at them the cruelest insults a young person could hear. But the future Miss Diana Ross (opens in new tab) was raised by a tenacious mother and did not let such things get her down. Not only did they bounce back undaunted, but just three years later they left their childhood home in Dallas to train at the School of American Ballet in New York City, appearing in "Hairspray" at age 17 and going on to star in "Catch Me If You Can," Nice Work If You Can Get It, and The Book of Mormon, before landing the role of The Supreme (you know) in the Broadway musical about the life and times of The Temptations: Ain't Too Proud. In honor of Black History Month (opens in new tab) (and, frankly, the power of solidarity), Woods spoke intimately behind the scenes about the prejudice and glory of being young, black, and queer in show business, and the transformative power of music we are not proud to sing out loud. Marie Claire Do you remember the first time you experienced racism?

Candace Marie Woods: It was interesting growing up in Texas. I didn't know what I was going through until after [the racism] happened. I was supposed to be with a white boy on a project, and he told me, "I don't want to work with n*gger." I think that was the first time I was called "n*gger." But growing up in the dance world, I experienced racism all the time (opens in new tab). There were very few black dancers in Texas. I couldn't find tights that fit my skin. I couldn't find anything that fit my body type. I was very small, but I had very large breasts. MC: "Systemic racism" means that they don't make things for you because you don't matter to them. I had another moment on one show where, prior to "Ain't Too Proud," many of the shows I had been on had mostly white casts, and I was usually the "token black woman" in the cast. So at one show, there was a moment when a billboard was put up of the girls and the lead guy. We took this beautiful, amazing picture, and I was on the edge of that picture. And I was cut out of that picture. There was this big billboard in Times Square that had everyone's face on it except mine. And I remember looking at it and talking about how excited everyone was. But I was so hurt. I felt like I was invisible, and I felt so alone in that moment. I couldn't talk to anyone about it because I didn't want to put a damper on anyone's parade.

MC: Why do you think you felt responsible for not raining on anyone's parade?

CMW: Because I was young and I was trying very hard not to be "difficult" in order to continue this career. I was trying to placate. I was trying to fit into a mold. I was trying not to stand out too much. I was young at the time, I wasn't an activist, I didn't feel like it was my place, and I didn't want to lose my place in the Broadway world.

MC: You're afraid because you think you have a lot to lose.

CMW: Yes, I do. But it also becomes your reality, and once it becomes your reality, you come to accept it. Then you realize how incredibly ridiculous it is. Now it's like, "Oh my God, this is hard. This is a big deal. Now I'm thinking, "Okay, well, how do we fix this?" So now, when I have those moments, whether it's racism, whether it's an ill-informed statement against the queer community, whether it's some sort of bizarre stance against gender or ageism, whatever it is, I stand up and I speak up. I speak up as respectfully and honestly as I can without losing my job or being afraid to.

MC: There is a scene in the play, "I Wish It Would Rain," that takes place right after MLK was assassinated. David Ruffin (played by Ephraim Sykes) was kneeling on the floor crying, and everyone in the audience was crying. And I felt, wait a minute, this is very important right now.

CMW: Can you imagine living in that time? There is a sense that the more you can't imagine it, the less important it is to people. Even if you are a famous star, you don't know if your life really matters to the people who are smiling at you, asking for your autograph, dancing to your music. When I think about that, it makes me angry. We have made progress, but we still have a long way to go.

MC: I can feel that in the audience.

CMW: That's the great thing about The Temptations. They really brought people together. That's what music is all about, and the Temptations were part of that revolution. When it comes to doing shows about racism, there is a little bit of hope. I hope that as many people as possible will say, "Oh, yeah. Yeah, that wasn't cool back then. Maybe we shouldn't be thinking, 'Let's make America great again.'

Some people will say to you, 'Oh, now I get it, that's why we're so divided.' But no. You have become very, very comfortable with the fact that you are sitting on top of inner racism and outer racism. We are fighting to understand each other better and to speak up and help each other through all of this. Because that was there before Donald Trump. And Trump has shaken it up again and brought it out into the open. If this man wants to be openly racist and openly misogynist, I am openly proud of him. I will be openly present for my friends, colleagues, and family in the various communities he is antagonizing.

MC: Tell us about your experience coming out as queer.

CMW: I've fallen in love with trans people, trans people, non-binary people. When I came back [to Broadway], I felt like I had a book of knowledge to share with so many people, especially in the theater community. We are a very open community, and we pride ourselves on being open to all kinds of people. In other words, we should stop hiring only white people to play "white roles" when they are not white. There is a lot that can be done in the LGBTQ+ community as well as the gay white community. There is still much that can be done for black people and black rights. We can do more to raise awareness about people being shot in the streets by cops. Because that is our job. That is our job. We tell stories on stage. We tell the stories of all kinds of peoples on stage. We need each other. We need each other's experiences in order for stories to continue to be born. So you can't shut us out.

MC: Miss Ross would not have allowed herself to be shut out CMW: Diana Ross has been a great inspiration for my entire career. I feel like I have grown into this beautiful, elegant, graceful character, even though I haven't always been that way. She has been an inspiration to me. It's been my career, but I've also been able to wear fancy gowns, makeup, and wigs .......

MC: She is so glamorous and confident. Always. Even now.

CMW: Exactly. I love that about her. Because I struggle with anxiety. Playing her every night allows me to step out and get on stage.

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