Nassau. There he was exposed to the modern world, where he saw his first automobile and first experienced electricity, plumbing, refrigeration, and motion pictures. He was raised Catholic but later became an agnostic with views closer to deism. At age fifteen, he was sent to Miami to live with his brother's large family, but Poitier found it impossible to adjust to the racism in Jim Crow era Florida. At sixteen, he moved to New York City, looking to become an actor, holding a string of jobs as a dishwasher in the meantime. After failing his first audition with the American Negro Theatre due to his inability to fluently read the script, an elderly Jewish waiter sat with him every night for several weeks, helping him to improve his reading by using the newspaper. During World War II, in November 1943, he lied about his age and enlisted in the Army. He was assigned to a Veteran's Administration hospital in Northport, New York, and was trained to work with psychiatric patients. Poitier became upset with how the hospital treated its patients and feigned mental illness to obtain a discharge. Poitier confessed to a psychiatrist that he was faking his condition, but the doctor was sympathetic and granted his discharge under Section VIII of Army regulation 615–360 in December 1944. After leaving the Army, he worked as a dishwasher until a successful audition landed him a role in an American Negro Theatre production, the same company he failed his first audition with. Career Early work and blacklist Poitier joined the American Negro Theater but was rejected by audiences. Contrary to what was expected of black actors at the time, Poitier's tone deafness made him unable to sing. Determined to refine his acting skills and rid himself of his noticeable Bahamian accent, he spent the next six months dedicating himself to achieving theatrical success. He modeled his legendary speech pattern after radio personality Norman Brokenshire. On his second attempt at the theater, he was noticed and given a leading role in the Broadway production of Lysistrata, through which, though it ran a failing four days, he received an invitation to understudy for Anna Lucasta. In 1947, Poitier was a founding member of the Committee for the Negro in the Arts (CNA), an organization whose participants were committed to a left-wing analysis of class and racial exploitation. Among his other CNA-related activities, in the