Marie Doro

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Marie Doro (Burr McIntosh, 1902)

Marie Doro (born May 25, 1882 in Duncannon , Pennsylvania , as Marie Katherine Stewart , † October 9, 1956 in New York City , New York ) was an American actress of the silent film era .

Doro began her career as a choir singer before she got her first engagements as an actress in Saint Paul in 1901 . Under the management of Charles Frohman , the young actress achieved her first successes on Broadway a little later , in particular as a partner of the actor William Gillette . In the following twelve years she established herself as a respected stage actress in the United States through her Broadway appearances and tours through various states and gained fame in Great Britain through guest appearances in London. After the death of her mentor and manager Frohman, Marie Doro began a career as a film actress and starred in several silent films in the female lead. She worked with well-known directors such as Cecil B. DeMille , Edwin S. Porter and Herbert Brenon . In 1915 the actress was seen in The Morals of Marcus , which is considered to be the first 3D film shown in front of an audience . After Doro became dissatisfied with the film industry in Hollywood and the roles offered to her, she made several films in Europe before she finally ended her career in 1923. Marie Doro spent the last years of her life withdrawn from the public in New York. Much of her films are now considered lost or destroyed.

Private life

Marie Doro (Burr McIntosh, 1902)

Marie Katherine Stewart was born as the only child of the lawyer Richard Henry Stewart (1859-1932) and Virginia Weaver Stewart (* 1864, year of death unknown) in the small community of Duncannon in Perry County . One of her ancestors was the American politician Patrick Henry . The family moved twice over the years for professional reasons of the father: first to Kansas City , where Marie spent much of her childhood, and then to New York. The Stewart couple later divorced. Virginia Stewart remarried in 1910, but her husband committed suicide in Asnières-sur-Seine in June of that year .

Marie Doro disclosed little about her private life, which often led to speculation. In 1915 she married the well-known vaudeville actor Elliott Dexter . The marriage remained childless and was divorced in 1922. It remained the actress' only steadfast relationship, which raised questions about her sexuality in public and the press.

After retiring in 1923, Doro lived in New York. The actress had one of her last public appearances in October 1924 at two celebrations she organized, to which she had invited prominent guests. Those in attendance included photographer Carl Van Vechten , writer Sinclair Lewis, and composer George Gershwin , who performed as a pianist. In the following years, Marie Doro withdrew completely into private life and was henceforth considered a loner. She broke off contact with most of her friends and acquaintances. Doro also studied spiritualism and studied religion at Union Theological Seminary in the City of New York and Princeton University .

33 years after her last public appearance, Marie Doro died of heart failure on October 9, 1956 at the age of 74 in her apartment in New York's Volney Hotel. She was buried in the cemetery in her native Duncannon. She bequeathed her fortune of $ 90,000 to the Actors Fund of America.

Career

Beginnings as an actress

Like many young stage actresses, Marie Stewart began her stage career as a choir girl for performances of musical comedies before she got her first role in the play Aristocracy at the Criterion Theater in Saint Paul in 1901 . At that time, the actress adopted the stage name Marie Doro, which was based on her nickname Adorato (Italian for beloved ).

In November 1901, Marie Doro joined the theater group Metropolitan Players , which she cast in the role of Cora in David Belasco's comedy Naughty Anthony . The group toured Ohio , Indiana , Georgia , Texas and Iowa until March of the following year.

In 1902, the actress gained fame through a series of pictures by photographer Burr McIntosh. Marie Doro had met Marie Doro by chance on the street and thought she was so beautiful that he took a number of photographs of her and had them published in magazines across the country, making her name famous throughout the United States.

Stage career

Marie Doro (Burr McIntosh, 1902)

After her engagement at Saint Paul and her move to New York, Doro received her first roles in the plays The Billionaire and The Girl from Kays . 1903 followed two appearances in San Francisco . She was discovered by theater director and producer Charles Frohman during a performance of The Admirable Crichton at New York's Lyceum Theater , in which Doro played a supporting role between November 1903 and March 1904. He took the young actress under contract and gave her her first lead role in New York as Lady Millicent in the play Little Mary of JM Barrie , which had Theater Premiere at the Empire on 4 January 1904th In the same year, Doro appeared in a supporting role as Dora in Granny at the side of the actress Ann Gilbert , who was extremely well-known in the theater scene at the time , who was already 83 years old and was planning a farewell tour through the United States after the play had already been in this cast October of that year on Broadway and November in New Haven . However, only four days after the first date of the tour in Chicago on December 2, 1904, Gilbert died unexpectedly of a cerebral hemorrhage.

In January of the following year, Marie Doro played the title role in Friquet at New York's Savoy Theater. In May 1905, she traveled to London with the William Colliers Company drama group to take part in The Detective . This was followed by a leading role as Alice Faulkner in a theatrical version of Sherlock Holmes . The title character was played by William Gillette, who is best known for this role. During this time Doro made the acquaintance of the then still young and unknown Charlie Chaplin , who had an extra role as a page in the play. Chaplin said he was in love with the actress and spent several evenings with her. However, when she met again in Hollywood several years later, she no longer remembered him. After Sherlock Holmes followed from September to December 1905 38 joint appearances with William Gillette in Clarice at Duke of York's Theater. Gillette had written the piece especially for herself and Doro.

On her return to the United States, Doro played the title role again in Clarice , first in November 1905 during a performance in Boston , then in the Broadway version at the Garrick Theater. She was again on stage as a partner of William Gillette, who had also traveled to the United States. The actors appeared together in this play for two months. After the play was canceled on Broadway, Clarice was still performed at the Power's Theater in Chicago and at the National Theater in Washington with Doro in the lead role.

In the following years, Marie Doro developed into a popular stage actress. Her roles particularly specialized in dramas. In this genre Doro was one of the most recognized actresses of her time. According to contemporary reviews, however, it also made a name for itself in other genres such as comedies.

After Clarice she was seen as Carlotta in the play The Morals of Marcus , which the actress also performed in Boston, Fort Wayne and Trenton and was a great success. This was followed by other Broadway performances, from March 1909 in The Richest Girl and from 1910 in Electricity , again at the side of William Gillette.

In addition to these Broadway appearances, Marie Doro continued to tour the United States, including again in The Richest Girl in 1909 . In 1910 the play The Climax followed , with which the actress appeared in New Jersey and London. In February of the same year, The Climax was performed with the same cast as the first play at sea during a transatlantic voyage on board the RMS Mauretania . 1911 followed two appearances in A Butterfly on the Wheel in Atlantic City and Chicago.

In 1912 Marie Doro had one of her most famous Broadway appearances in Charles Dickens Oliver Twist , in which she disguised as a boy took on the role of the main character. In addition to Doro, well-known actors such as Nathaniel Carl Goodwin and Constance Collier took part in the performance . In the same year followed an appearance in the play Patience by Gilbert and Sullivan . In 1913 she appeared in The New Secretary before she was back at the side of William Gilette in 1914 in Diplomacy . The same play had previously been performed from 1913 to 1914 with the same cast of leading roles at Wyndham's Theater in London. At the time, Doro also appeared in the London performances of The Scarlet Band and The Bill .

Her last regular appearances on stage had Marie Doro in January 1915 in a performance of Diplomacy in Boston and in April of the same year at the National Theater in Washington, the last time at the side of William Gillette.

All appearances of the actress between 1904 and 1915 were organized by Charles Frohman, who also acted as her manager and often produced the plays himself. She later said of the relationship between her, Frohman and Gillette:

"For years I was hypnotized by two men: Frohman and William Gilette"

In total, Marie Doro has appeared in 17 different plays on Broadway during her career.

After the official end of her career as a stage actress in 1915, Marie Doro only worked sporadically in this field. Together with well-known actors such as Marie Dressler and Frances Alda, she played a leading role in the suffragette operetta Melinda and Her Sisters , written by Alva Vanderbilt Belmont and Elsa Maxwell , which had its only performance on February 18, 1916 in New York's Waldorf Astoria and 8000 Could raise US dollars for the benefit of the National Woman's Party . In addition, the actress was seen twice on Broadway: In November 1917 in Barbara and from October 1921 to February 1922 in the role of Mildred Harker in Lilies of the Field .

Film career

Marie Doro on the cover of Photoplay Magazine (1919)

Doro's manager and mentor Charles Frohman died in 1915 when the RMS Lusitania went down , after which she officially ended her stage career and henceforth devoted herself to the still young silent film genre. The film producer Adolph Zukor then signed her to Paramount Pictures . She played her first role in the same year as Carlotta in The Morals of Marcus by Edwin S. Porter, who is now considered lost or destroyed like most of her films. The reason for this was the easily inflammable celluloid contained in the film tapes at the time . If stored incorrectly, celluloid films also decompose by themselves. The Morals of Marcus is considered the first 3D film to be shown in front of an audience as a test. It premiered on June 10, 1915 at New York's Astor Theater.

Over a period of 8 years, the actress mostly played the female lead in a total of 18 films, most of which were dramas. She also achieved a high level of awareness in the film scene. Doro often embodied childlike or adolescent characters who were much younger than them. The actress described her change from theater to film and the resulting change as follows:

“Well, the studio has its compensations. It quickly became clear to me that while the camera seemed cold and obscure, it was both a bit repulsive and absolutely uncompromising. What I mean is that she's staring at you as if to say, 'I see everything you do. The slightest insincerity, the slightest inattention I will record. Be thorough! ' For the conscientious actor, the incentive of the camera replaces the excitement of the audience's enthusiasm "

Also in 1915 was The White Pearl , an adventure romance set in the Orient with Marie Doro and the British actor Thomas Holding as young lovers in the lead roles. In the 1916 drama The Wood Nymph she was seen as the eponymous forest nymph , who grows up alone in the forests of California and lives under the belief of Greek mythology . The screenplay was written by Granville Warwick, a pseudonym of the influential director David Wark Griffith . This was followed by the lead role as Dora in the tragicomedy Diplomacy . The film was based on a play of the same name by Victorien Sardou , in which Doro had appeared on stage several times in her career.

Also in 1916, the actress played the role of Oliver Twist for the second time in a film adaptation of the same name by James Young . That same year she starred in Cecil B. DeMille's drama The Heart of Nora Flynn , which received critical acclaim for its camera work and lighting. Her role was that of a nanny who hides her employer’s infidelity before the jealous chauffeur causes a scandal. Doro's film partner was her husband Elliott Dexter. Both spouses appeared together in their films several times in the following years, including 1916 in Sidney Olcott's drama Diplomacy , the film version of the play in which Doro had previously appeared several times. Her other film appearances this year included one of the leading roles in the drama Common Ground by William C. de Mille . Doro's role in the film about two judges who attach scandals to each other and thus want to destroy each other's careers was simply referred to as The Kid .

In 1917, the actress played the leading role in the fantasy drama Castles for Two , for which she received almost exclusively positive reviews. The industry magazine Variety described Marie Doro in the film as "petite, lovely and full of charm". In the film Patricia Calhoun she played a wealthy heiress who travels to Ireland and meets the fairies her nanny once told about. In the same year the drama Lost and Won by James Young followed , in which Doro played the leading role of the Cinders .

In 1919 Marie Doro turned away from Hollywood and worked in Europe from then on. One of her few roles outside of dramas is that of Marie Fernando in the British thriller 12.10 , directed by Herbert Brenon, which was released that same year. The actress played the orphan Marie , who is adopted by the wealthy Lord Chatterton after her father's suicide and who is targeted by his manager, who wants to win her over and thus get the Chattertons' fortune. On October 12th , the British and Colonial Films studio wanted to make a name for itself on the American market, and they succeeded: The production was a considerable success.

Doro worked with Brenon three times after October 12th: 1920 in The Mysterious Princess , 1921 in Little Sister and also in 1921 in the drama The Stronger Passion . These lost films were Italian productions. The Stronger Passion is based on a piece by H. Rider Haggard . The actress played the role of Beatrice , who falls miserably in love with a married man. Her appearance in this film and in The Mysterious Princess , along with the direction of Herbert Brenon, received mixed reviews from the Italian press.

End of career and later years

Marie Doro (photography by Carl Van Vechten , 1933)

Despite her still high popularity with audiences, Marie Doro retired in 1923 after she became dissatisfied with the Hollywood studio system and the roles offered to her. Young talents like Mary Miles Minter and Lucille Ricksen were preferred to the over forty-year-old actress. She shot her last films in Italy and Great Britain, where she stayed for a long time, for the same reason. After returning to the United States, the actress retired completely into private life. Carl Van Vechten took one of the few known photographs of Marie Doro after her career in 1933. The Van Vechten couple had been friends with her.

In 1952, four years before her death, Doro was interviewed by the writer Daniel Blum for his book Great Stars of the American Stage . During this interview, a photograph of the actress was also taken, which had not been shown in public for years.

A year after Marie Doro's death, on October 14, 1957, a play called Compulsion was performed by the New York theater company Barter Troupe . She wrote this as a co-author, but never published it. Even in her days as a stage actress, Doro wrote several scenes of plays in which she appeared on the advice of Charles Frohman.

In February 1960, Marie Doro received a star on the Hollywood Walk of Fame , which opened in the same month, in the film category at 1725 Vine Street.

Act

Marie Doro was one of the most famous beauties of the American public at the turn of the century, along with Lillian Russell . She was praised by contemporary critics not only for her acting performance, but above all for her appearance. Among other things, the American actress and Oscar winner Ruth Gordon wrote in her autobiography Myself Among Others , published in 1971, that Doro was “perhaps the most beautiful actress who has ever lived”. Marie Doro was often referred to by the press as "Little Miss Doro", "Elfin" or "Dresden Doll".

Doro mostly played shy and inconspicuous characters. In her private life, she was said to be extremely intelligent and intellectual, according to a journalist friend, Lowell Thomas . She also had a biting sense of humor.

“Because of her fragile-looking manner and warmth, she mostly got pretty, but bland roles. Backstage she was intelligent, an expert on Shakespeare and Elizabethan poetry, had a penetrating sense of humor and sometimes a bitter joke ”

- Lowell Thomas

The theater critic Walter Prichard Eaton described Doro together with actresses like Billie Burke (also a discovery by Charles Frohman) as a "personality performer" who always reflects herself in her roles and moves the audience with her play and charisma, no matter how good or how well bad their actual acting performance may be.

In a 1937 article in Harper's Bazaar fashion magazine, it was jokingly noted that Marie Doro was the only actress who could compose a Greek ode while removing her make-up.

Actress Myrna Loy named Marie Doro as her favorite actress alongside Annette Kellerman , especially in her role as Oliver Twist .

Stage appearances

Marie Doro (Burr McIntosh, 1902)

Broadway

Source for all appearances on Broadway:

  • 1902–1903: The Billionaire (Daly's Theater, Grand Opera House)
  • 1903–1905: The Girl From Kay's (Herald Square Theater, Grand Opera House)
  • 1903–1904: The Admirable Crichton ( Lyceum Theater )
  • 1904: Little Mary (Empire Theater)
  • 1904: Granny (Lyceum Theater)
  • 1905: Friquet (Savoy Theater)
  • 1906–1907: The Little Cherub (Criterion Theater, Grand Opera House)
  • 1906: Clarice (Garrick Theater)
  • 1907: The Morals of Marcus (Criterion Theater)
  • 1909: The Richest Girl (Criterion Theater)
  • 1910: Electricity (Lyceum Theater)
  • 1912: Oliver Twist ( New Amsterdam Theater )
  • 1912: Patience (Lyric Theater)
  • 1913: The New Secretary (Lyceum Theater)
  • 1914: Diplomacy (Empire Theater)
  • 1917: Barbara (Plymouth Theater)
  • 1921–1922: Lillies of the Field (Klaw Theater)

Naughty Anthony tour

1901:

1902:

Other appearances (selection)

  • 1901: Aristocracy (Criterion Theater, Saint Paul)
  • 1903: A Runaway Girl (San Francisco)
  • 1903: The Circus Girl (San Francisco)
  • 1904: Granny (Chicago; Hyperion Theater, New Haven)
  • 1905: The Detective (Comedy Theater, London)
  • 1905: Sherlock Holmes (Duke of York's Theater, London)
  • 1905–1907: Clarice (Duke of York's Theater, London; Park Theater, Boston; Power's Theater, Chicago; National Theater, Washington)
  • 1907–1909: The Morals of Marcus (Park Theater, Boston; Majestic Theater, Fort Wayne; Taylor Opera House, Trenton; Opera House, Colorado Springs; Macdonough Theater, Oakland)
  • 1909: The Richest Girl (Majestic Theater, Fort Wayne; Majestic Theater, Harrisburg; Taylor Opera House, Trenton)
  • 1910: The Climax (Majestic Theater, New Jersey; Comedy Theater, London; On board the RMS Mauretania)
  • 1911: A Butterfly on the Wheel (Apollo Theater, Atlantic City; Chicago)
  • 1913: The Scarlet Band (Comedy Theater, London)
  • 1913–1914: Diplomacy ( Wyndham's Theater , London)
  • 1914: The Bill (Prince of Wales Theater, London)
  • 1915: Diplomacy (Hollis Street Theater, Boston; National Theater, Washington)
  • 1916: Melinda and her Sisters (Waldorf Astoria, New York)

Filmography

Marie Doro (Burr McIntosh, 1902)

Films received

  • 1916: The Heart of Nora Flynn (copy preserved in the George Eastman House Motion Picture Collection)
  • 1916: Common Ground (copy preserved in the British Film Institute's BFI National Archive )
  • 1917: Lost and Won (copy preserved in the Archives of the Library of Congress )
  • 1917: Castles for Two (copy preserved in the Archives of the Library of Congress)
  • 1917: Heart's Desire (copy preserved in the Archives of the Library of Congress)
  • 1919: October 12

Lost movies

According to the Directory of the Library of Congress, there are no known copies of the following films:

  • 1915: The Morals of Marcus
  • 1915: The White Pearl
  • 1916: The Wood Nymph
  • 1916: Diplomacy (fragment preserved in the Archives of the Library of Congress)
  • 1916: The Lash
  • 1916: Oliver Twist
  • 1919: Midnight Gambols
  • 1920: The Mysterious Princess
  • 1921: Little Sister
  • 1921: The Stronger Passion
  • 1923: Sister Against Sister
  • 1923: Sally Bishop

literature

  • Daniel Blum: Great Stars of the American Stage. Greenberg, Sykesville 1952.
  • Alice M. Robinson, Vera Mowry Roberts, Milly S. Barranger: Notable Women in the American Theater: A Biographical Dictionary. Greenwood Press, Santa Barbara 1989, ISBN 0-313-27217-4 .
  • Gerald Martin Bordman, Thomas S. Hischak: The Oxford Companion to American Theater. Oxford University Press, Oxford 2004, ISBN 0-19-516986-7 .

Web links

Commons : Marie Doro  - Collection of Images

Individual evidence

  1. ^ Scott Wilson, Resting Places: The Burial Sites of More Than 14,000 Famous Persons . McFarland, Jefferson 2016, ISBN 1-4766-2599-9 , p. 204.
  2. ↑ HR TESTES A SUICIDE .; Stepfather of Marie Doro Kills Himself in France. In: The New York Times . June 19, 1910, accessed November 2, 2018 .
  3. ^ K. Starr: The Sewing Circle - (Part 1). In: Piece of Mindful. June 22, 2018, accessed November 13, 2018 .
  4. ^ Marie Doro - A Forgotten Star. In: The Real Marie Doro. Accessed November 13, 2018 .
  5. ^ George Hutchinson: In Search of Nella Larsen: A Biography of the Color Line . Harvard University Press, Cambridge 2009, ISBN 0-674-03892-4 , p. 171.
  6. ↑ a b c Nick T. Soister, Henry Nicolella, Steve Joyce: American Silent Horror, Science Fiction and Fantasy Feature Films, 1913–1929 . McFarland, Jefferson 2014, ISBN 0-7864-8790-9 , p. 688.
  7. ↑ MARIE DORO, 74, RETIRED ACTRESS; Star of Stage and Movies Dies - Appeared in Plays Produced by Frohman Debut in 1901 Her Artistry Praised. In: The New York Times . October 10, 1956, accessed October 30, 2018 .
  8. ↑ a b Gerald Martin Bordman, Thomas S. Hischak: The Oxford Companion to American Theater . Oxford University Press, Oxford 2004, ISBN 0-19-516986-7 , p. 184.
  9. ^ Adrian Room: Dictionary of Pseudonyms: 13,000 Assumed Names and Their Origins . McFarland, Jefferson 2012, ISBN 0-7864-5763-5 , p. 151.
  10. ↑ Early Days. In: Marie Doro - A Forgotten Star. Accessed November 4, 2018 .
  11. ^ David S. Shields: Still: American Silent Motion Picture Photography. University of Chicago Press, Chicago 2013, ISBN 0-226-01343-X , p. 376.
  12. ^ Burns Mantle, Garrison P. Sherwood: The Best Plays of 1899-1909: And the Year Book of the Drama in America . Ayer Company Pub, New York 1944, ISBN 0-8369-8251-7 , p. 471.
  13. ↑ Fred Goodwins: Charlie Chaplin's Red Letter Days: At Work with the Comic Genius . Rowman & Littlefield, Lanham 2017, ISBN 1-4422-7809-9 , p. 101.
  14. ↑ JP Wearing: The London Stage 1900-1909: A Calendar of Productions, Performers, and Personnel . Scarecrow Press, Lanham 2013, ISBN 0-8108-9294-4 , p. 255.
  15. ↑ Eric L. Flom: Chaplin in the Sound Era: An Analysis of the Seven Talkies . McFarland, Jefferson 1997, ISBN 0-7864-0325-X , p. 6.
  16. ↑ FIRST PLAY AFLOAT ON THE MAURETANIA; "The Climax," with Marie Doro, to be given by the Company on Its Way to London. In: The New York Times . February 7, 1910, accessed October 30, 2018 .
  17. ^ JP Wearing: The London Stage 1910-1919: A Calendar of Productions, Performers, and Personnel . Scarecrow Press, Lanham 2013, ISBN 0-8108-9300-2
  18. ^ For years I was hypnotized by two men - Frohman and William Gillette.
  19. ↑ Jan Onofrio: Alabama Biographical Dictionary . Somerset Publishers, St. Clair Shores 1998, ISBN 0-403-09811-4 , p. 25; Betty Lee: Marie Dressler: The Unlikeliest Star. University Press of Kentucky, Lexington 2013, ISBN 0-8131-4571-6 , p. 118.
  20. ^ First 3-D Feature - 1922. In: 3-D Film Archive. Retrieved November 15, 2018 .
  21. ^ Marie Doro - photos and quotes. In: Bizarre Los Angeles. February 12, 2018, accessed November 1, 2018 .
  22. ^ "Well, the studio has its compensations. It soon became apparent to me that the camera, though it seemed cold and inscrutable, was at the same time a bit for bidding and absolutely uncompromising. I mean by that that it glares at one as if to say, 'I see everything you do; the least insincerity, the slightest carelessness I will record. Be thorough! ' To the conscientious actor that is significant. The spur of the camera replaces the stimulus of the audience's enthusiasm. "
  23. ^ The White Pearl (1915). In: The Silent Film Still Archive. Retrieved November 23, 2018 .
  24. ^ The Wood Nymph (1916). In: British Film Institute . Retrieved November 23, 2018 .
  25. ^ Robert S. Birchard: The Heart of Nora Flynn. In: Cecil B. DeMille's Hollywood. University Press of Kentucky, Lexington 2009, ISBN 0-8131-3829-9 ; Silent Feature: The Heart of Nora Flynn. In: Cecil B. De Mille Foundation. 2016, accessed on November 23, 2018 .
  26. ↑ Common Ground (1916). In: British Film Institute . Retrieved November 23, 2018 .
  27. ^ Fritzi Kramer: In the Vaults # 13: Castles for Two (1917). In: Movies Silently. September 20, 2013, accessed November 23, 2018 .
  28. ↑ 12.10 (1919). In: The Movie Database. Retrieved November 23, 2018 .
  29. ^ Rachael Low: History of British Film (Volume 4): The History of the British Film 1918–1929. Routledge, Abingdon-on-Thames 2013, ISBN 1-136-20634-5 , p. 137.
  30. ^ Philip Leibfried: Rudyard Kipling and Sir Henry Rider Haggard on Screen, Stage, Radio and Television . McFarland, Jefferson 2008, ISBN 1-4766-0931-4 , p. 104.
  31. ↑ Michael Cohen: Marie Doro Biography. In: Find Your Way Coaching. Retrieved November 17, 2018 .
  32. ^ Gertrude Stein, Carl Van Vechten: The Letters of Gertrude Stein and Carl Van Vechten, 1913-1946. Columbia University Press, New York 2013, ISBN 0-231-06309-1 , p. 160.
  33. ^ Daniel Blum: Great Stars of the American Stage . Greenberg, Sykesville 1952, p. 48.
  34. ↑ Sam Zolotow: MARIE DORO PLAY TO BE PRODUCED; Late Actress Is Co-Author of Drama That Barter Troupe Will Present This Month Moving-Up Day 'Compulsion' Due Oct. 14. In: The New York Times . August 6, 1957, accessed October 31, 2018 .
  35. ^ Marie Doro. In: Hollywood Walk of Fame. Accessed October 30, 2018 .
  36. ^ Arthur Marwick: A History of Human Beauty . A&C Black, London 2007, ISBN 0-8264-3945-4 , p. 133.
  37. ↑ Ruth Gordon : Myself Among Others . Atheneum, 1971, p. 203.
  38. ↑ Alice M. Robinson, Vera Mowry Roberts, Milly S. Barranger: Notable Women in the American Theater: A Biographical Dictionary . Greenwood Press, Santa Barbara 1989, ISBN 0-313-27217-4 , p. 218.
  39. ^ Lowell Thomas: Adventures Among Immortals . Dodd, Mead & Company, New York 1937, p. 267.
  40. ↑ Her fragile-looking type of pulchritude caused her to be cast in usually insipid, pretty-pretty roles. Offstage, she was intelligent, an expert on Shakespeare and Elizabethan poetry, and possessed a penetrating humor and a sometimes acid wit.
  41. ^ Marlis Schweitzer: When Broadway Was the Runway: Theater, Fashion, and American Culture . University of Pennsylvania Press, Philadelphia 2011, ISBN 0-8122-0616-9 , p. 104.
  42. ↑ Harper's Bazaar . Issue 71, Hearst Corporation , New York 1937, p. 114.
  43. ^ Emily W. Unfortunately: Myrna Loy: The Only Good Girl in Hollywood. University of California Press, Oakland 2012, ISBN 0-520-27450-4 , p. 25.
  44. ^ The Broadway League: Marie Doro. In: Internet Broadway Database. Accessed October 30, 2018 .
  45. ^ Diplomacy / Sidney Olcott [motion picture]. In: Library of Congress . Retrieved November 8, 2018 .
This version was added to the list of articles worth reading on December 18, 2018 .
personal data
SURNAME Doro, Marie
ALTERNATIVE NAMES Stewart, Marie Katherine
BRIEF DESCRIPTION American stage and film actress of the silent film era
DATE OF BIRTH May 25, 1882
PLACE OF BIRTH Duncannon , Pennsylvania , United States
DATE OF DEATH October 9, 1956
Place of death New York City , New York , United States