Marie Lloyd
Matilda Alice Victoria Wood (12 February 1870 – 7 October 1922), professionally known as Marie Lloyd (
Born in London, she was showcased by her father at the Eagle Tavern in Hoxton. In 1884, she made her professional début as Bella Delmere; she changed her stage name to Marie Lloyd the following year. In 1885, she had success with her song "The Boy I Love Is Up in the Gallery", and she frequently topped the bill at prestigious theatres in London's West End. In 1891, she was recruited by the impresario Augustus Harris to appear in that year's spectacular Theatre Royal, Drury Lane Christmas pantomime Humpty Dumpty. She starred in a further two productions at the theatre, Little Bo Peep (1892) and Robinson Crusoe (1893). By the mid-1890s, Lloyd was in frequent dispute with Britain's theatre censors due to the risqué content of her songs.
Between 1894 and 1900, she became an international success when she toured France, America, Australia and Belgium with her solo music hall act. In 1907, she assisted other performers during the
Lloyd had a turbulent private life that was often the subject of press attention: she was married three times, divorced twice, and frequently found herself giving court testimony against two of her husbands who had physically abused her. In later life, she was still in demand at music halls and had a late success in 1919 with her performance of "
Biography
Family background and early life
Lloyd was born on 12 February 1870 in
Lloyd and the troupe made their début at a mission in Nile Street, Hoxton, in 1880[3][12] and followed this with an appearance at the Blue Ribbon Gospel Temperance Mission later the same year. Costumed by Matilda,[3] they toured local doss-houses in East London, where they performed temperance songs, teaching people the dangers of alcohol abuse.[11][n 4] Eager to show off his daughter's talent, John secured her unpaid employment as a table singer at the Eagle Tavern in Hoxton, where he worked as a waiter.[13] Among the songs she performed there was "My Soldier Laddie".[14] Together with her performances at the Eagle, Lloyd briefly contributed to the family income by making babies' boots, and, later, curled feathers for hat making.[15] She was unsuccessful at both and was sacked from the latter after being caught dancing on the tables by the foreman. She returned home that evening and declared that she wanted a permanent career on the stage. Although happy to have her performing in her spare time, her parents initially opposed the idea of her appearing on the stage full-time. She recalled that when her parents "saw that they couldn't kick their objections as high as [she] could kick [her] legs, they very sensibly came to the conclusion to let things take their course and said 'Bless you my child, do what you like'."[16]
Early career and first marriage
On 9 May 1885, at the age of 15, Lloyd made her professional solo stage début at the Grecian
Lloyd established her new name on 22 June 1886,
By the end of 1886, Lloyd was playing several halls a night[30] and earned £100 per week. She was now able to afford new songs from established music hall composers and writers,[31] including "Harry's a Soldier", "She Has a Sailor for a Lover", and "Oh Jeremiah, Don't You Go to Sea".[n 7] By 1887, Lloyd began to display a skill for ad lib, and to gain a reputation for her impromptu performances.[33] It was during this period that she first sang "Whacky-Wack" and "When you Wink the Other Eye", a song which introduced her famous wink at the audience.[27][34] Unlike her West End audiences who enjoyed her coarse humour, her "blue" performances did not impress audiences in the East End.[35]
While appearing at the Foresters music hall in Mile End, she met and began dating Percy Charles Courtenay,[36] a ticket tout from Streatham, London. The courtship was brief, and the couple married on 12 November 1887 at St John the Baptist, Hoxton.[n 8] In May 1888, Lloyd gave birth to a daughter, Marie Courtenay (1888–1967).[3][n 9] The marriage was mostly unhappy, and Courtenay was disliked by Lloyd's family and friends. Before long, Courtenay became addicted to alcohol and gambling, and grew jealous of his wife's close friendship with the 13-year-old actress Bella Burge,[n 10] to whom Lloyd had rented a room in the marital house. He also became angry at the numerous parties Lloyd hosted for fellow members of the music hall profession including Gus Elen, Dan Leno and Eugene Stratton.[41][42]
In October 1888, Lloyd returned from maternity leave and joined rehearsals for the 1888–89 pantomime The Magic Dragon of the Demon Dell; or, The Search for the Mystic Thyme, in which she was cast as Princess Kristina. The production, which was staged between
By the start of the 1890s, Lloyd had built up a successful catalogue of songs, which included "What's That For, Eh?", about a little girl who asks her parents the meaning of various everyday household objects. Her biographer and theatre historian W. J. MacQueen-Pope described the song as being "blue" and thought that it spoke volumes about her reputation thanks to her "wonderful wink, and that sudden, dazzling smile, and the nod of the head."[46] Similar-styled songs followed; "She'd Never had her Ticket Punched Before", told the story of a young, naive woman travelling to London on her own by train. This was followed by "The Wrong Man Never Let a Chance Go By"; "We Don't Want to Fight, But, by Jingo, If We Do";[46] "Oh You Wink the Other Eye"[47] and "Twiggy Vous"—a song which won her much success and increased her popularity abroad.[46] After an evening's performance at the Oxford music hall, a French well-wisher requested a conversation and to meet Lloyd backstage. Flanked by Courtenay, she appeared at the stage door, where Courtenay threatened the man with violence as both had become suspicious of his interest in her. She took a chance and invited the man into her dressing room, where he identified himself as a member of the French government. He confirmed to her that "Twiggy Vous" was "most popular in Paris"; she was delighted at the news.[48] At the end of the year, Lloyd returned to London where she appeared in the Christmas pantomime Cinderella in Peckham alongside her sister Alice.[49]
1890s
Drury Lane and success
Between 1891 and 1893, Lloyd was recruited by the
Lloyd's biographer Midge Gillies defines 1891 as being the year that she officially "made it" thanks to a catalogue of hit songs and major success in the halls and pantomime. When she appeared at the Oxford music hall in June, the audience cheered so loudly for her return that the following act could not be heard; The Era called her "the favourite of the hour".[59][60] During the summer months, she toured North England, including Liverpool, Birmingham and Manchester. At the last she stayed an extra six nights due to popular demand, which caused her to cancel a trip to Paris.[61] The 1892 pantomime was Little Bo Peep; or, Little Red Riding Hood and Hop O' My Thumb, in which she played Little Red Riding Hood.[62] The production was five hours long and culminated with the show's harlequinade.[63][n 12] During one scene, her improvisational skills caused some scandal when she got out of bed to pray, but instead reached for a chamber pot.[65][66] The stunt angered Harris, who ordered her not to do it again or risk immediate dismissal. Max Beerbohm, who was in a later audience, said "Isn't Marie Lloyd charming and sweet in the pantomime? I think of little besides her."[67] On 12 January 1892, Lloyd and Courtenay brawled drunkenly in her Drury Lane dressing room after an evening's performance of Little Bo-Peep. Courtenay pulled a decorative sword off the wall and threatened to cut her throat; she escaped from the room with minor bruises and reported the incident to the Bow Street police station.[68][69] In early 1893, she travelled to Wolverhampton where she starred as Flossie in another unsuccessful piece called The A.B.C Girl; or, Flossie the Frivolous,[54] which, according to MacQueen-Pope, "ended the Queen of Comedy's career as an actress".[70][n 13]
Lloyd made her American stage début in 1893, appearing at
Upon her return to London, Lloyd introduced "Listen with the Right Ear", which was an intended follow-up to "Oh You Wink the Other Eye".[75] Shortly after her return, she sailed to France, to take up an engagement in Paris. Her biographer Daniel Farson thought that she received "greater acclaim than any other English comedienne who had preceded her".[76] She changed the lyrics to some of her best-known songs for her French audience and retitled them, "The Naughty Continong"; "Twiggy Vous"; "I'm Just Back from Paris" and "The Coster Honeymoon in Paris".[77][n 15] At Christmas in 1893, she returned to London to honour her final Drury Lane commitment, starring as Polly Perkins in Robinson Crusoe.[52][79][80] The part allowed her to perform "The Barmaid" and "The Naughty Continong" and saw her perform a mazurka with Leno.[81] Talking to a friend years later about her Drury Lane engagements, she admitted that she was "the proudest little woman in the world".[52]
In May 1894, Courtenay followed Lloyd to the Empire, Leicester Square, where she was performing, and attempted to batter her with a stick, shouting: "I will gouge your eyes out and ruin you!" His assault missed Lloyd, but struck Burge in the face instead. As a result of the incident, Lloyd was sacked from the Empire for fear of a reprisal.[82][n 16] Lloyd left the marital home, moving to 73 Carleton Road, Tufnell Park[84] and successfully applied for a restraining warrant, which prevented Courtenay from contacting her. A few weeks later, Lloyd began an affair with the music hall singer Alec Hurley,[42][n 17] which resulted in Courtenay initiating divorce proceedings in 1894 on the grounds of her adultery.[42][82] That year, together with a short tour of the English provinces, Lloyd travelled to New York with Hurley, where she appeared at the Imperial Theatre, staying for two months. On her return to England, she appeared in the Liverpool Christmas pantomime as the principal boy in Pretty Bo-Peep, Little Boy Blue, and the Merry Old Woman who lived in a Shoe. Her performance was praised by the press, who called her "delightfully easy, graceful and self-possessed."[86]
Risqué reputation and transatlantic tours
By 1895, Lloyd's risqué songs were receiving frequent criticism from theatre reviewers and influential
Despite their opposing views on music hall entertainment, Lloyd and Chant shared similar political views, and were wrongly assumed by the press to be enemies.[3][n 18] An inspector who reported on one of Lloyd's performances at the Oxford music hall thought that her lyrical content was fine but her knowing nods, looks, smiles and the suggestiveness in her winks to the audience suggested otherwise.[89] The restrictions imposed on the music halls were, by now beginning to affect trade, and many were threatened with closure.[98] To avoid social unrest, Hackney council scrapped the licensing restrictions on 7 October 1896.[99] In 1896, Lloyd sailed to South Africa with her daughter, who appeared as Little Maudie Courtenay on the same bill as her mother.[100] Lloyd came to the attention of Barney Barnato, a British entrepreneur who was responsible for mining diamond and gold. Barnato lavished gifts on her in an attempt to woo her, but his attempts were unsuccessful; nevertheless, the two remained friends until his death in 1897. The tour was a triumph for Lloyd, and her songs became popular among her South African audience. She performed "Wink the Other Eye", "Twiggy-Vous", "Hello, Hello, Hello",[101] "Whacky, Whacky, Whack!", "Keep Off the Grass",[102] and "Oh! Mr Porter". Feeling satisfied at the success she had achieved, Lloyd returned to London once the two-month tour had ended.[101]
The following year, Lloyd travelled to New York where she re-appeared at Koster and Bial's Music Hall. Her first song was about a young woman who lacked confidence in finding a suitor. The chorus, "Not for the very best man that ever got into a pair of trousers", proved hilarious; The Era observed that the line "tickled the audience immensely". Following this, she performed a song about a French maid who appeared innocent and petite at first sight, but turned out not to be so. The Era described the character as being "not so demure as she looked, for she confided to her auditors that she 'knew a lot about those tricky little things they don't teach a girl at school'." Many other songs followed and were all warmly received. At the conclusion of each performance, she received gifts from the audience including bouquets and floral structures.[103] The Era commented that "Miss Lloyd's clever character work, her versatility and unflagging endeavours to please were rewarded with deserved success".[103] After the tour, Lloyd returned to London, and moved to Hampstead with Hurley.[104] That Christmas, she appeared in pantomime, this time at the Crown Theatre in Peckham in a production of Dick Whittington in which she played the title role. In it, she sang "A Little Bit Off the Top", which MacQueen-Pope describes as being "one of the pantomime songs of the year". The Music Hall and Theatre Review was equally complimentary, saying: "Brilliant Repertory, Charming Dresses, A Unique Personality!"[105] During the Christmas period of 1898–9, Lloyd returned to the Crown where she took her benefit, during which she appeared in Dick Whittington. The entertainment culminated with a song from Vesta Victoria, and a short piece called The Squeaker, starring Joe Elvin.[106]
1900s
In February 1900, Lloyd was the subject of another benefit performance at the Crown Theatre in Peckham.
Music hall strikes of 1907
Shortly after her marriage to Hurley, Lloyd went to
Relationship with Bernard Dillon
Despite their marital problems, Lloyd went on an American tour with Hurley in 1908. She was eager to equal the success of her sister Alice, who had become popular in the country a few years previously.[121] By 1910, Marie's relationship with Hurley had ended, due in part to her endless parties and her developing friendship with the jockey Bernard Dillon, winner of the 1910 Derby.[3][123][n 21] Lloyd and the young sportsman began an open and passionate affair. For the first time, her private life eclipsed her professional career. She was seldom mentioned in the theatrical press in 1910, and when she did perform, it was not to the best of her abilities.[124] The writer Arnold Bennett, who witnessed her on stage at the Tivoli Theatre in 1909, admitted that he "couldn't see the legendary cleverness of the vulgarity of Marie Lloyd" and accused her songs of being "variations of the same theme of sexual naughtiness."[125] As with Courtenay years previously, the shy and retiring Dillon was finding it hard to adapt to Lloyd's elaborate and sociable lifestyle.[126] Dillon's success on the racecourse was short lived.[127] In 1911, he was expelled from the Jockey Club for borrowing £660 to bet on his own horses to win.[128] Dillon's horses lost, and he ended up in debt to trainers.[127] He became jealous of Lloyd's successful life in the spotlight.[129] Depression led to drink and obesity, and he started to abuse her.[130] Hurley, meanwhile, had initiated divorce proceedings, the strain of which caused him to drink heavily, which in turn finished his theatrical career.[131] Lloyd left the marital home in Hampstead and moved to Golders Green[132] with Dillon, a move which MacQueen-Pope describes as being "the worst thing she ever did."[133]
Later years
A new show in London in 1912 showcased the best of music hall's talent.[134] The Royal Command Performance took place at the Palace Theatre in London, which was managed by Alfred Butt.[135] The show was organised by Oswald Stoll, an Australian impresario who managed a string of West End and provincial theatres. Stoll, although a fan of Lloyd's, disliked the vulgarity of her act and championed a return to a more family-friendly atmosphere within the music hall.[136] Because of this, and her participation in the earlier music hall war, Stoll left her out of the line-up.[14] He placed an advert in The Era on the day of the performance warning that "Coarseness and vulgarity etc are not allowed ... this intimation is rendered necessary only by a few artists".[137] In retaliation, Lloyd staged her own show at the London Pavilion, advertising that "every one of her performances was a command performance by order of the British public".[3][138] She performed "One Thing Leads to Another", "Oh Mr Porter", and "The Boy I Love Is up in the Gallery" and was hailed as "the Queen of Comedy" by critics.[139] The same year, she travelled to Devon where she appeared at the Exeter Hippodrome to much success. The Devon and Exeter Gazette, reported that Lloyd's performance of "Every Movement Tells a Tale", was "thoroughly enjoyed" by the audience and "[received] round after round of applause". The paper also praised her recital of a "Cockney girl's honeymoon in Paris", which was met by "roars of laughter".[140]
Scandal in America
In 1913, Lloyd was booked by the Orpheum Syndicate to appear at the
Despite the problems, the tour was a success, and Lloyd performed to packed theatres throughout America. Her act featured the songs "The Twiddly Wink", "I'd Like to Live in Paris All the Time (The Coster Girl in Paris)", and "The Aviator". The numbers were popular, partly due to the Americanisation of each song's lyrics.
First World War and final years
Lloyd and Dillon returned to England in June 1914.
In January 1915, Lloyd appeared at the Crystal Palace where she entertained over ten thousand troops. At the end of that year, she performed her only war song, "Now You've Got your Khaki On", composed for her by Charles Collins and Fred W. Leigh, about a woman who found the army uniform sexy and thought that wearing it made the average pot-bellied gentleman look like a muscle-toned soldier. Lloyd's brother John appeared with her on stage dressed as a soldier and helped characterise the ditty. Following this, she sang the already well-established songs "If You Want to Get On in Revue", which depicted a young girl who offered sexual favours to promote her theatrical career, and "The Three Ages of Woman", which took a cynical look at men from a woman's perspective.[161] She seldom toured during the war, but briefly performed in Northampton, Watford and Nottingham in 1916. By the end of that year, she had suffered a nervous breakdown which she blamed on her hectic workload and a delayed reaction to Hurley's death.[162] During the war years, Lloyd's public image had deteriorated.[163] Her biographer Midge Gillies thought that Lloyd's violent relationship with Dillon and professional snubs in public had left the singer feeling like "someone's mother, rather than their sweetheart."[163]
In July 1916, Dillon was conscripted into the army, but disliked the discipline of regimental life. He applied for exemption on the grounds he had to look after his parents and four brothers,
In July 1919, Lloyd was again left off the cast list for the Royal Variety Performance, which paid tribute to the acts who helped raise money and boost morale during the war years. She was devastated at the snub and grew bitter towards her rivals who had been acknowledged. Her biographer Midge Gillies compared Lloyd to a "talented old aunt who must be allowed to have her turn at the piano even though all everyone really wants is jazz or go to the Picture Palace".[171] She toured Cardiff in 1919, and in 1920 she was earning £11,000 a year.[168] Despite the high earnings, she was living beyond her means, with a reckless tendency to spend money. She was famous for her generosity, but was unable to differentiate between those in need and those who simply exploited her kindness.[172][n 22] Her extravagant tastes, an accumulation of writs from disgruntled theatre managers, an inability to save money, and generous hand-outs to friends and family,[173] resulted in severe money troubles during the final years of her life.[168]
Decline and death
In 1920, Lloyd appeared twice at Hendon Magistrates Court and gave evidence of the abuse she had suffered from Dillon.[174] Soon afterwards, she separated from him and, as a result, became depressed.[3] When asked by prosecutors how many times Dillon had assaulted her since Christmas 1919, Lloyd replied "I cannot tell you, there were so many [occasions]. It has happened for years, time after time, always when he is drunk."[175] By now, she was becoming increasingly unreliable on stage; she appeared at a theatre in Cardiff for a mere six minutes before being carried off by stage hands. During the performance, she seemed dazed and confused, and she stumbled across the stage. She was conscious of her weak performances and frequently cried between shows. Virginia Woolf was among the audience at the Bedford Music Hall on 8 April 1921 and described Lloyd as "A mass of corruption – long front teeth – a crapulous way of saying 'desire', and yet a born artist – scarcely able to walk, waddling, aged, unblushing."[176]
In April 1922, Lloyd collapsed in her dressing room after singing "The Cosmopolitan Girl" at the Gateshead Empire in Cardiff. Her doctor diagnosed exhaustion, and she returned to the stage in August. Her voice became weak, and she reduced her act to a much shorter running time.[177] Her biographer Naomi Jacob thought that Lloyd was "growing old, and [she] was determined to show herself to her public as she really was ... an old, grey-faced, tired woman".[178] On 12 August 1921, Lloyd failed to show for an appearance at the London Palladium, choosing instead to stay at home and write her will.[176][n 23]
In early 1922, Lloyd moved in with her sister Daisy to save money.[179] On 4 October, against her doctor's advice,[177] she appeared at the Empire Music Hall in Edmonton, North London, where she sang "I'm One of the Ruins That Cromwell Knocked About a Bit". Her performance was weak, and she was unsteady on her feet, eventually falling over on stage. Her erratic and brief performance proved hilarious for the audience, who thought that it was all part of the act.[180] Three days later, while appearing at the Alhambra Theatre, she was taken ill on stage and was found later in her dressing room crippled with pain, complaining of stomach cramps. She returned home later that evening, where she died of heart and kidney failure, aged 52.[n 24] More than 50,000 people attended her funeral at Hampstead Cemetery on 12 October 1922.[182][183][n 25] Lloyd was penniless at the time of her death and her estate, which was worth £7,334,[184] helped to pay off debts that she and Dillon had incurred over the years.[185] In their announceent of Lloyd's death, The Times wrote:
In her the public loses not only a vivid personality whose range and extremely broad humour as a character actress were extraordinary, but also one of the few remaining links with the old music-hall stage of the last century.[186]
Writing in The Dial magazine the following month, T. S. Eliot claimed: "Among [the] small number of music-hall performers, whose names are familiar to what is called the lower class, Marie Lloyd had far the strongest hold on popular affection."[12] Her biographer and friend MacQueen-Pope thought that Lloyd was "going downhill of her own volition. The complaint was incurable, some might call it heartbreak, perhaps a less sentimental diagnosis is disillusionment."[187] The impersonator Charles Austin paid tribute by saying "I have lost an old pal, and the public has lost its principal stage favourite, one who can never be replaced."[188]
Notes and references
Notes
- ^ John "Brushie" Wood was of Irish descent; the son of a willow-cutter father and a willow-weaver mother, he grew up in the English countryside. Matilda Wood's parents were boot makers from London. John and Matilda married in Bethnal Green, London in April 1869.[2]
- ^ Her siblings were John (b. 17 December 1871); Alice (b. 20 October 1873); Grace (b. 13 October 1875); Daisy (b. 15 September 1877); Rosie (b. 5 June 1879); Annie (b. 25 June 1883); Sydney (b. 1 April 1885); and Maud (b. 25 September 1890). John, Grace and Annie were the only children who did not become performers.[5][6] Two, Percy and May, died in infancy, the former from mumps and the latter by accidental suffocation.[4]
- ^ In 1880, the act featured Lloyd's brother Johnny (age 9), and sisters Alice (7), Grace (5), Daisy (3), and Anne (18 months).[11]
- ^ In one sketch, Lloyd dressed in clothes borrowed from her father and played the part of an alcoholic husband, who arrives home late in a drunken state. Alice played the wife who complained of her husband's debauchery and alcoholic ways. Marie then sang the song "Throw Down the Bottle and Never Drink Again", after vowing to his wife that he was to give up alcohol for good.[11]
- ^ This stage name was spelled differently by various biographers, including Bella Delmare (by Naomi Jacob); Belle Delamere (by W. J. MacQueen-Pope in The Melodies Linger On and Bella Delmore in Queen of the Music Halls); and Bella Delmere (by M.W. Disher and Colin Macinnes). Lloyd's biographer Daniel Farson chooses the latter spelling calling Disher "the most accurate authority".[16]
- ^ Other performers on the bill included the Sergeant Simms Zouave Troupe, the King of Egypt, a one-legged champion, and others.[25]
- T.B. Harms & Francis, Day & Hunter, Inc.[32]
- ^ On the marriage certificate, Courtenay gave his profession as a captain in the British army. Lloyd gave her age as 18 (although she was 17 at the time), and left a blank space next to her job, as a music hall performer was looked upon as being a lewd and scandalous profession.[37]
- ^ Marie Jr. was born at 55 Graham Road, Hackney, on 19 May 1888. For the purposes of the birth certificate, Courtenay was shown as a "commission agent" while Lloyd's occupation was omitted.[38] Marie Jr. later became a performer and took the stage name "Marie Lloyd Jr.". She performed in music halls for many years, and starred in a few films in the 1930s. She lived until the age of 79 and was buried with her mother in 1967.[39]
- ^ Burge was an actress who used the stage name Bella Lloyd. She appeared on the same bill as Lloyd's sisters Alice and Grace, who were starring in a Christmas pantomime at the Pavilion Theatre, Whitechapel in 1889. Alice and Grace were appearing as the Sisters Lloyd.[40]
- ^ Walter Macqueen-Pope called Lloyd a Principal Girl and noted that "There is often a misconception about this and a belief that she was Principal Boy there. She was Principal Boy in other pantomimes but never at Drury Lane."[50]
- ^ Most pantomimes in the 18th and 19th centuries ended in the harlequinade which was featured as an after-piece to the main performance. The harlequinade became the larger part of the entertainment, and the transformation scene was presented with spectacular stage effects.[64]
- ^ The A.B.C Girl was written by Henry Chance Newton and centred around a "girl about town" who was learning the facts of life. The tour visited Dublin, Nottingham, Stratford, and Sheffield, but was unsuccessful. Its demise was blamed on Lloyd's inability to act.[71]
- ^ The inscription on the service read: "Marie Lloyd from Koster and Bial, Friday 12 December 1890, New York." A contract for a future engagement was placed inside the tea pot.[73]
- ^ Despite the audience's obvious joy, Lloyd grew insecure of her French performances. A stage hand found the actress crying in her dressing room after a performance and comforted her. Lloyd confided "I done my best and they call me a beast". The friend gently pointed out that what the audience were actually shouting was "Bis, Bis" (French for "more").[78]
- ^ After the incident, Lloyd and Burge travelled by horse and brougham to seek refuge at the Prince's tavern in Wardour Street, which Lloyd had bought her family a few years before. When they arrived, Courtenay was again waiting by the rear door. Courtenay shouted "I am going to murder you tonight. I will shoot you stone dead and you will never go on stage any more." Lloyd's uncle restrained Courtenay, and the couple fled once more.[83]
- ^ Hurley was born in 1871 in Hackney and was the son of an Irish Sea captain. After appearing briefly in a double act with his brother, Hurley became a coster comedian and was likened to Albert Chevalier. Lloyd may have met Hurley as early as 1892.[85]
- venereal infection by allowing the police to arrest prostitutes and force them to undergo a medical examination. Chant was also a campaigner against domestic violence, something that Lloyd experienced in all of her marriages.[3]
- ^ The song was Hurley's version of the Cakewalk, a popular dance craze at the time. "The Lambeth Walk" was not connected to the later Noel Gay hit.[110][111]
- ^ MacQueen-Pope wrongly assumed that the couple were married by 1901.[114]
- ^ Dillon was born in 1888 in Tralee, Ireland and moved to England at age thirteen, where he took up horse racing. Dillon met Lloyd at one of her parties in 1910, having been invited by Marie Jr.[123]
- ^ A family legend has it that one day Lloyd was met by a man who asked for an advance in order to help him with his new invention. She thought the request sounded too elaborate so declined to help, causing Guglielmo Marconi to look elsewhere. Stories of her spending included hiring an East End hotel so she could provide 150 beds for the area's homeless children; buying her family a hotel in Hastings and a pub in Soho;[172] and buying two house boats on the Thames called Moonbeam and Sunbeam.[104]
- ^ Lloyd left her brother John £300 and her maid £100. The rest was split between Lloyd's daughter and a group of Hoxton charities.[176]
- ^ Lloyds death certificate diagnosed "Nitral Regurgitation – 14 months; Nephritis (an inflammation of the kidneys) – 14 months; and Uraemic Coma – 3 days."[181]
- hearses were used to carry the flowers during the funeral procession.[182]
References
- ^ Gillies, p. 19
- ^ Gillies, p. 5
- ^ a b c d e f g h i j k l Gray, Frances. "Lloyd, Marie", Oxford Dictionary of National Biography, Oxford University Press, accessed 2 December 2012 (subscription or UK public library membership required)
- ^ a b Gillies, p. 7
- ^ Farson, p. 73
- ^ Pope, p. 97
- ^ A description given in Pope, p. 23
- ^ Gillies, p. 8
- ^ Pope, p. 25
- ^ Farson, p. 35
- ^ a b c d Farson, p. 36
- ^ a b A letter by T. S. Eliot to The Dial Magazine, 4 December 1922, pp. 659–663, quoted in Rainey, p.164
- ^ a b "Lloyd, Edward", Oxford Dictionary of National Biography, Oxford University Press, accessed 3 December 2012 (subscription or UK public library membership required)
- ^ a b c "Biography of Marie Lloyd", Victoria and Albert Museum website, accessed 30 December 2012
- ^ Gillies, p. 9
- ^ a b c Farson, p. 37
- ^ Gillies, p. 11
- ^ a b Gillies, p. 16
- ^ Gillies, p. 17
- ^ a b c Gillies, p. 18
- ^ Pope, p. 30
- ^ Pope, pp. 36–37
- ^ Gillies, pp. 21–22
- ^ Pope, p. 37
- ^ a b c d Farson, p. 38
- ^ Pope, p. 39
- ^ a b c "A Chat With Marie Lloyd", The Era, 28 October 1893, p. 16
- ^ "Sebright Music Hall, Hackney", Over the Footlights.co.uk, accessed 28 February 2013
- ^ As quoted in Farson, p. 39
- ^ Farson, p. 39
- ^ Pope, p. 40
- ^ "Blind But Not Old", The Era, 4 November 1893, p. 16
- ^ Pope, p. 50
- ^ Farson, pp. 38–39
- ^ Pope, p. 73
- ^ Pope, p. 56
- ^ Farson, p. 40
- ^ Gillies, p. 36
- ^ Marie Lloyd Jr. filmography, British Film Institute, accessed 4 December 2012
- ^ Farson, p. 41
- ^ Pope, p. 60
- ^ a b c "Marie Lloyd Divorced", The Western Times, 5 November 1904, p. 6
- ^ Gillies, pp. 38–39
- ^ Gillies, p. 40
- ^ Gillies, p. 41
- ^ a b c Pope, pp. 68–69
- ^ Sheet music - Then You Wink The Other Eye, Victoria and Albert Museum website, accessed 26 March 2013
- ^ Pope, p. 72
- ^ Gillies, pp. 129–130
- ^ MacQueen-Pope, p. 82
- ^ a b c Gillies, p. 53
- ^ a b c Farson, p. 45
- ^ Pope, pp. 85–86
- ^ a b Farson, p. 46
- ^ "Humpty Dumpty", The Times, 28 December 1891, p. 8
- ^ Gillies, p. 55
- ^ "Humpty Dumpty Triumph", London Entr'acte, 2 January 1892, p. 2
- ^ Compton Mackenzie's memoirs, p. 232, as quoted in Gillies, p. 56
- ^ Gillies, p. 58
- ^ "Miss Marie Lloyd at the Oxford", The Era, 12 September 1891, p. 3
- ^ Gillies, p. 60
- ^ Pope, p. 87
- ^ Gillies, p. 74
- ^ Hartnoll, Phyllis and Peter Found (eds). "Harlequinade", The Concise Oxford Companion to the Theatre, Oxford Reference Online, Oxford University Press, 1996, accessed 10 April 2013 (subscription required)
- ^ "1892: Hop O' My Thumb" Its-behind-you.com, accessed 2 February 2013
- ^ Farson, pp. 45–46
- ^ Letters to Reggie as quoted in Gillies, p. 76
- ^ The Times, 1 April 1892, p. 2
- ^ Anthony, p. 115
- ^ Pope, pp. 114–115
- ^ Gillies, p. 126
- ^ Gillies, pp. 46–47
- ^ Gillies, p. 47
- ^ "Success in New York", London Entr'acte, 23 May 1893, p. 2
- ^ Gillies, pp. 47–48
- ^ Farson, pp. 46–47
- ^ Farson, p. 47
- ^ Farson, p. 48
- ^ Pantomimes at Drury Lane, Its-behind-you.com, accessed 18 March 2013
- ^ Pope, p. 88
- ^ Gillies, p. 83
- ^ a b Farson, pp. 42–43
- ^ Farson, p. 43
- ^ Gillies, p. 85
- ^ Gillies, pp. 122–123
- ^ Liverpool Review, 29 December 1894, as quoted in Gillies, p. 95
- ^ Pope, p. 138
- ^ Farson, p. 64
- ^ a b c "Sources for the history of London Theatres and Music Halls at London Metropolitan Archives" Archived 23 December 2017 at the Wayback Machine, London Metropolitan Archives, Information Leaflet Number 47, pp. 6–7, accessed 23 December 2017
- ^ Gillies, p. 315
- ^ Gillies, p. 89
- ^ Gillies, p. 101
- ^ Gillies, p. 102
- ^ Pope, p. 140
- ^ Nuttall, Carmichael, p. 34
- ^ "The BBC should see the funny side of risqué humour", The Telegraph (online edition), accessed 8 April 2013
- ^ Pope, p. 141
- ^ Farson, pp. 64–65
- ^ Farson, p. 69
- ^ Pope, p. 95
- ^ a b Farson, p. 77
- ^ Pope, p. 93
- ^ a b "Marie Lloyd In New York", The Era, 23 October 1897, p. 18
- ^ a b Gillies, p. 124
- ^ Pope, pp. 89–90
- ^ "Miss Marie Lloyd's Benefit", The Era, 25 February 1899, p. 19
- ^ "Marie Lloyd's Benefit", The Era, 17 February 1900, p. 18
- ^ Farson, p. 79
- ^ Pope, p. 120
- ^ a b Farson, p. 80
- ^ Pope, p. 119
- ^ Pope, p. 110
- ^ Farson, p. 82
- ^ a b Farson, p. 81
- ^ Gillies, p. 170
- ^ Pope, p. 131
- ^ Gillies, p. 171
- ^ Pope, pp. 131–132
- ^ Farson, p. 83
- ^ Pope, p. 132
- ^ a b Pope, p. 133
- ^ "Marie Lloyd at the Gaiety", The Courier, 30 March 1909, p. 7
- ^ a b Farson, p. 85
- ^ Gillies, p. 216
- ^ Bennett, p. 356
- ^ Gillies, p. 222
- ^ a b Gillies, pp. 232–233
- ^ "Mr Dillon's debt", The Times, 6 June 1913, p. 5
- ^ Gillies, p. 233
- ^ Farson, p. 87
- ^ Farson, pp. 86–87
- ^ "A Jockey Divorced", The Advertiser, 19 December 1913, p. 11
- ^ Pope, p. 151
- ^ Pope, p. 143
- ^ Farson, p. 93
- ^ Farson, pp. 88–89
- ^ The Era as quoted in Jacob, p. 93
- ^ Pope, pp. 148–149
- ^ Farson, p. 96
- ^ "Marie Lloyd At Exeter Hippodrome", The Devon and Exeter Gazette, 27 August 1912, p. 10
- ^ Farson, p. 98
- ^ "Miss Marie Lloyd Is Ordered to Be Deported From America", The Courier, 3 October 1913, p. 5
- ^ Farson, p. 99
- ^ "The Detention of Miss Marie Lloyd and Dillon", Derby Daily Telegraph, 4 October 1913, p. 5
- ^ Farson, p. 101
- ^ "My sister Marie Lloyd", Lloyds Sunday News, 10 December 1922, p. 4
- ^ Gillies, p. 242
- ^ Gillies, p. 243
- ^ New York Telegraph, 26 November 1913; as quoted in Gillies, p. 243
- ^ Farson, p. 102
- ^ a b Farson, p. 103
- ^ The Morning Telegraph, 1913 (full date not given); as quoted in Gillies, p. 245
- ^ "Marie Lloyd Married", Manchester Courier and Lancashire General Advisor, 23 February 1914, p. 7
- ^ The New York Sun, 4 October 1913, p. 3; as quoted in Gillies, p. 240
- ^ Gillies, p. 249
- ^ Farson, pp. 103–104
- ^ a b Gillies, p. 256
- ^ Farson, p. 104
- ^ Farson, p. 105
- ^ Gillies, pp. 257–258
- ^ Gillies, p. 252
- ^ Gillies, pp. 254–255
- ^ a b c Gillies, p. 257
- ^ The Times, 29 July 1916, p. 18
- ^ Gillies, pp. 255–256
- ^ Farson, p. 106
- ^ "Marie Lloyd's Husband Gets Months Hard Labour for Assault on Police", The Evening Telegraph and Post, 7 June 1917, p. 2
- ^ a b c Farson, p. 116
- ^ Gillies, pp. 261–262
- ^ Farson, p. 54
- ^ Gillies, p. 265
- ^ a b Gillies, p. 81
- ^ Farson, pp. 116–117
- ^ Gillies, p. 268
- ^ Farson, p. 113
- ^ a b c Gillies, p. 271
- ^ a b Farson, p. 118
- ^ Jacob, p. 199
- ^ Gillies, p. 272
- ^ Farson, pp. 119–120
- ^ Farson, p. 121
- ^ a b "50,000 Mourn as Marie Lloyd is Buried", The New York Times, 13 October 1922, p. 16
- ^ "Marie Lloyd Buried", The Western Times, 13 October 1922, p. 12
- ^ "What Marie Lloyd Left", Evening Telegraph, 8 November 1922, p. 7
- ^ "The Death of Marie Lloyd", The Guardian (Archive), 22 October 1922
- ^ "Nation mourns Marie Lloyd, star of music hall". The Times. 8 October 1922. Retrieved 20 October 2022.
- ^ Pope, p. 166
- ^ "Miss Marie Lloyd", The Sunday Post, 8 October 1922, p. 1
Sources
- Bennett, Arnold (1976). Journal of Arnold Bennett: 1896–1910. London: Ayer Co Publishers. ISBN 978-0-518-19118-6.
- Farson, Daniel (1972). Marie Lloyd and Music Hall. London: Tom Stacey Ltd. ISBN 978-0-85468-082-5.
- Gillies, Midge (1999). Marie Lloyd: The One And Only. London: Orion BooksLtd. ISBN 978-0-7528-4363-6.
- Jacob, Naomi (1972). Our Marie, Marie Lloyd: A Biography. London: Chivers Press. ISBN 978-0-85594-721-7.
- Mackenzie, Compton (1963). My Life and Times: Octave 1. London: Chatto & Windus. ISBN 978-0-7011-0933-2.
- Macqueen-Pope, Walter (2010). Queen of the Music Halls: Being the Dramatized Story of Marie Lloyd. London: Nabu Press. ISBN 978-1-171-60562-1.
- Nuttall, Jeff; Carmichael, Rodick (1977). Common Factors-Vulgar Factions. London: Routledge. ISBN 978-0-7100-8592-4.
- Rainey, Lawrence. S (2006). The Annotated Waste Land with Eliot's Contemporary Prose. London: Yale University Press. ISBN 978-0-300-11994-7.
External links
- Songs from Marie Lloyd, at the Internet Archive.
- "From the archive: The death of Marie Lloyd", The Guardian (online).
- Images of Marie Lloyd at the National Portrait Gallery.
- Marie Lloyd biography at the Victoria & Albert Museum.
- Queen of the Music Halls by W. J. MacQueen-Pope at the Internet Archive.