Marie Dainton (1881-1938)

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Marie Dainton (1881-1938)

Marie Dainton was born in Russia of English parents on 8th June, 1881. She was the daughter of Robert E. Sharlach and his actress wife Jenny (Dawson). Groomed for the stage from an early age, she first appeared in front of a paying audience at the Theatre Royal, York in March 1894. Her role as 'Buonavista' in "Little Red Riding Hood" included her giving imitations of various popular artists of the day, thus giving early vent to the particular talent for mimicry that would become her trademark. Later that year she appeared in London for the first time, performing on stage as a mimic at the Metropolitan Music Hall in August. She was an immediate success and more music hall engagements followed.

On 24th December, 1894, she opened as 'Mr Falsehood' in "The House that Jack Built" at the Opera Comique, and the following year toured as 'Flo' in "Buttercup and Daisy". The next few years were spent appearing mainly in the music halls until June 1899, when she scored a big success at the Avenue Theatre giving impressions of popular stage stars in a production entitled "Pot Pourri". In September 1900 she crossed the Atlantic for the first time to play 'Paquita' in "The Belle of Bohemia" at the Casino Theatre in New York. Returning to London in February 1901, she appeared in the same role at the Apollo in London, then embarked on a tour of Austria playing 'Fifi' in "The Belle of New York".

Back in London the following year, her next engagement was at The Strand where she was an early replacement for Miss Ellas Dee as 'Mrs Pineapple' in George Dance's enormously successful musical play "A Chinese Honeymoon". Marie played the role over 1000 times, becoming one of only a tiny handful of players at that time to have reached such a milestone. She also made several gramophone recordings of songs from this show, including 'The a la Girl', 'Sweet Little Sing-Sing' and 'Mandie of Ohio'. After spending two years in the forementioned role, she next appeared as 'Peggy' in "Peggy Machree" at Wyndhams Theatre (December 1905), in revue at the Empire Theatre, and as 'Minetta' in "The Girl Behind the Counter at Wyndhams (April 1906).

She then returned to the music halls where she became one of the ringleaders in the artistes revolt of 1907. Just a handful of managers controlled many of the halls around the country and used their power to impose unfair and restrictive contracts on their performers. Although they were able to demand far better conditions for themselves, a small group of 'headliners' (including Marie, Harry 'Little Tich' Relph, Marie LLoyd, and Joe Elvin) supported the lesser known performers in leading a strike demanding better pay and more reasonable contracts. The strike, which became known as 'The Music Hall War' gained much public support and for a period closed down many halls forcing managers to improve conditions. It also led to the formation of the V.A.F. (Variety Artist’s Federation) - the precursor of the present day Actors Equity Association.

From October 1909 she embarked on her second tour of the USA playing in Philadelphia and Chicago in "The Silver Star" and "Madame Sherry", and the following year toured the English provinces as 'Clarice' in "The Mountaineers" before returning to the music halls. She was by now a major star constantly in demand, and could be relied upon to pack the house both in the halls and the legitimate theatre. In the ensuing years she regularly alternated between the two, often spending long periods appearing in variety, and for the next twenty years was rarely absent from the stage. Some major productions in which she took part during that period, among others, included "Autumn Manuevres" (as 'Lady Larkins', on tour 1912); "I Should Worry" (at The Palace and on tour 1913); "Society Ltd" (as 'Lady Whyte-Chappelle', The Scala 1920); "Riverside Nights" (Lyric Hammersmith 1926); "The Eternal Flame" (as 'Mrs Craig', The Court 1929); "Getting George Married" (as 'Henrietta Loring', Everyman 1930); and "The Werewolf" (as 'The Duchess of Capablanca', at The Kingsway 1932).

Marie's last major stage appearance was at His Majesty's in November 1934, playing the part of a slut in "Mary Read". Shortly thereafter she retired from the stage. Marie died on 1st February, 1938. She was only 56 years of age but could look back on a career that had seen her rarely absent from the stage over a period of forty years.

At the height of her career Marie had been a clever and versatile performer. A tall young woman, pale skinned with long black hair which she customarily wore coiled about her head, she was an accomplished actress and singer who excelled in musical comedy. But her greatest talent was undoubtedly as a mimic. So lifelike were her impersonations that when she occasionally performed at private parties guests would be astonished that her subjects were not there. On stage she would perform lifelike imitations of some of the great dramatic performers of the day in their best known roles, or sing comic songs in imitation of them, the inane words of the song counterpointing the seriousness of her victim to great comic effect. At a time when mimics were commonplace, Marie stood apart, able to capture to perfection every nuance of voice and gesture of her subjects.


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