Doris Lloyd

Liverpool, Lancashire, England, UK

Biography

From Wikipedia, the free encyclopedia Hessy Doris Lloyd (3 July 1896 – 21 May 1968) was an English-American film, television and stage actress. Born in Liverpool, she went to the United States of America to visit a sister already living there. What was supposed to be a visit she made permanent. She spent several years (1916–25) appearing in Broadway theatre plays, notably a number of Ziegfeld Follies editions, and probably spent some time on the road in touring companies. She decided on a film career, making her first film in 1925. With the exception of returning to one Broadway play in 1947, her career was devoted to films and television. Lloyd appeared in over 150 films between 1925 and 1967, including the 1933 low-budget Monogram Pictures version of Oliver Twist, in which she played Nancy. Irving Pichel starred as Fagin and Dickie Moore as Oliver. Her roles ranged from the sinister Russian spy Mrs. Travers in the biopic Disraeli (1929) to the meek housekeeper Mrs. Watchett in The Time Machine (1960). Her most famous film roles were in the Tarzan films starring Johnny Weissmuller. She voiced one of the roses in Disney's Alice in Wonderland (1951), later making small appearances in Mary Poppins and The Sound of Music which both starred Julie Andrews.

Movies

Matinee Theater is an American anthology series that aired on NBC during the Golden Age of Television, from 1955 to 1958. The series, which ran daily in the afternoon, was frequently live. It was produced by Albert McCleery, Darrell Ross, George Cahan and Frank Price with executive producer George Lowther. McCleery had previously produced the live series Cameo Theatre which introduced to television the concept of theater-in-the-round, TV plays staged with minimal sets. Jim Buckley of the Pewter Plough Playhouse recalled: When Al McCleery got back to the States, he originated a most ambitious theatrical TV series for NBC called Matinee Theater: to televise five different stage plays per week live, airing around noon in order to promote color TV to the American housewife as she labored over her ironing. Al was the producer. He hired five directors and five art directors. Richard Bennett, one of our first early presidents of the Pewter Plough Corporation, was one of the directors and I was one of the art directors and, as soon as we were through televising one play, we had lunch and then met to plan next week’s show. That was over 50 years ago, and I’m trying to think; I believe the TV art director is his own set decorator —yes, of course! It had to be, since one of McCleery’s chief claims to favor with the producers was his elimination of the setting per se and simply decorating the scene with a minimum of props. It took a bit of ingenuity.

More info
Matinee Theater
1955