May Robson
May Robson (April 19, 1858 – October 20, 1942) was an Australian-born American actress renowned for her portrayals of spirited elderly characters in stage and film, with a career spanning nearly 60 years from her debut in 1883 until her death.[1] Born Mary Jeanette Robison in Moama, New South Wales, she was the fourth child of British parents Henry Robison and Julia Schelesinger; after her father's death in 1865, the family relocated to England, where she received education in London, Brussels, and Paris before emigrating to the United States in her late teens.[2] She began her professional acting career on the stage at age 25, debuting on September 17, 1883, at the Brooklyn Grand Opera House in a production of Hoop of Gold, and quickly rose to prominence in Broadway theater, including a notable turn as Miss Prism in The Importance of Being Earnest (1895).[1] Transitioning to film in the silent era with her debut in A Night Out (1915), she appeared in over 60 movies, adapting seamlessly to sound films and becoming a staple in Hollywood as the quintessential crotchety grandmother.[3] Among her most acclaimed roles were Apple Annie in Lady for a Day (1933), earning her an Academy Award nomination for Best Actress at age 75—becoming, at the time, the oldest nominee in the category's history and the first Australian to receive such recognition—and Aunt Elizabeth in Bringing Up Baby (1938), alongside Katharine Hepburn and Cary Grant.[4] Other highlights include performances in Dinner at Eight (1933), The Adventures of Tom Sawyer (1938) as Aunt Polly, A Star Is Born (1937), and her final film, Joan of Paris (1942).[3] Robson died of natural causes in Beverly Hills, California, and was buried at Flushing Cemetery in Queens, New York, leaving a legacy as a trailblazing performer who bridged vaudeville, theater, and cinema.[3]Early life
Australian origins
Mary Jeanette Robison, known professionally as May Robson, was born on April 19, 1858, in St Kilda, Victoria, Australia.[1] She was the fourth child of Henry Robison, a retired British sea captain who had settled in Australia for health reasons, and his wife Julia (née Schelesinger).[1] Henry Robison died of tuberculosis in 1865 when Mary was seven years old, leaving the family in financial hardship.[1]Immigration to the United States
After her father's death, the family relocated to England, where Robson received education in London, Brussels, and Paris.[1] She emigrated to the United States as a teenager.[1]Personal life
Marriages
May Robson eloped at the age of 17 with 18-year-old Charles Leveson Gore, marrying him on November 1, 1875, in London.[1] Gore, the son of a U.S. cattle baron, initially pursued ranching ventures with Robson after their emigration to America in 1877, purchasing a 380-acre cattle ranch near Fort Worth, Texas.[1] The ranch proved unsuccessful, amid financial strains.[1] This union produced three children before Gore's death in 1883, which left Robson widowed and compelled her to seek employment to support her family.[2] Six years into her nascent stage career, Robson married Dr. Augustus Homer Brown, a New York police surgeon, on May 29, 1889.[1] The partnership offered Robson emotional companionship and financial security, enabling her to navigate the uncertainties of early theatrical work without the immediate pressures of sole provision.[5] Brown and Robson maintained a harmonious relationship, raising her surviving son together until Brown's death on April 1, 1920.[1] Robson's experiences in marriage highlighted the broader constraints on women in 19th-century America, where coverture laws subsumed a wife's legal identity under her husband's, limiting her property ownership, contract-making, and economic autonomy.[6] Despite these challenges, Robson's acting income progressively empowered her independence, particularly after her first husband's death, allowing her to manage her affairs with increasing self-reliance.[5]Children and family
May Robson had three children from her first marriage to Charles Leveson Gore, a rancher.[5] The couple's two other children—a son and a daughter—died young during Robson's early widowhood, one from diphtheria and the other from scarlet fever—leaving her to raise their only surviving child, son Edward Hyde Leveson Gore, born December 2, 1876.[5][7] The deceased children were James Beryl Gore (born 1879, died 1882) and Nellie Candler Gore (born c. 1880, died young).[7] These tragedies occurred around 1882, shortly before Robson began her acting career to provide for her son.[8] Edward Gore grew into adulthood amid his mother's demanding stage tours, which often kept them apart, yet he maintained a close bond with her.[1] In her later years, Edward served as his mother's business manager, handling her finances, travel arrangements, and professional affairs as her career extended into film. Robson had no children from her second marriage to Augustus Homer Brown in 1889.[5] The profound losses of her children and first husband forged Robson's resilient parenting approach, as she supported Edward through various crafts like embroidery and painting lessons before turning to the theater.[5]Career
Stage career
May Robson began her stage career at the age of 25 in 1883, making her debut as Tilly in the melodrama The Hoop of Gold at the Brooklyn Grand Opera House.[9] With no prior experience, she quickly adapted to the demands of the profession, joining stock companies where she performed a variety of roles in melodramas and comedies across the United States.[10] These early engagements honed her skills in character acting, often portraying spirited or comedic figures, and allowed her to support her family after becoming a widow.[11] By the late 1880s, Robson achieved her Broadway breakthrough, appearing as Alice Bellair in Partners in 1888. Her reputation grew in the 1890s through roles that showcased her versatility, including Miss Prism in Oscar Wilde's The Importance of Being Earnest (1895), a part that emphasized her knack for eccentric, authoritative older women blending humor and pathos. She continued with supporting turns in plays like Lord and Lady Algy (1899), solidifying her status as a reliable character actress in both drama and comedy. In the early 1900s, Robson expanded into vaudeville sketches and touring productions, performing in shows documented from 1910 to 1914.[12] A highlight was her starring role in The Rejuvenation of Aunt Mary (1907), a comedy that ran briefly on Broadway but proved popular on tour. By 1911, she co-authored and starred in The Three Lights, a domestic drama that marked her entry into playwriting. That same year, she established her own touring theatrical company, achieving financial independence through extensive road performances of works like Mother and Tish, which she presented across the U.S. and Canada, covering over 500,000 miles in four decades.[9] Known for her ability to shift seamlessly between comedic eccentricity and dramatic depth, Robson maintained a prolific stage presence until 1927, when she transitioned to film as a natural extension of her seasoned character portrayals.[13]Film career
Robson entered the film industry during the silent era, making her debut in 1915 with a cameo appearance as herself in How Molly Made Good, a comedy produced by the Photo Drama Company.[1] Over the following years, she took on supporting roles in numerous silent productions, typically portraying character actresses in comedies and dramas, such as the lead in the 1916 adaptation of her play A Night Out and the title role in The Rejuvenation of Aunt Mary (1927), a silent version of her earlier stage success.[1] By the late 1920s, she had accumulated appearances in around a dozen silent films, including Pals in Paradise (1926) and Cecil B. DeMille's epic The King of Kings (1927). In 1927, at age 69 and following the death of her second husband, Robson relocated from New York to Hollywood, marking a pivotal shift that revitalized her career as sound films emerged.[3] Her transition to talkies was seamless; she made her first sound film in Mother's Millions (1931) and quickly became a staple in over 20 productions during the 1930s, often in supporting yet memorable roles.[1] Standout performances included Apple Annie in Frank Capra's Lady for a Day (1933), which earned her an Academy Award nomination for Best Actress, and the eccentric Aunt Elizabeth in Howard Hawks' screwball comedy Bringing Up Baby (1938) opposite Cary Grant and Katharine Hepburn. Her portrayal of feisty, no-nonsense grandmothers and matriarchs became her signature, particularly in 1930s screwball comedies and dramas like Dinner at Eight (1933) and The Adventures of Tom Sawyer (1938).[3] Robson's screen persona translated her stage-honed wit and resilience to cinema, where she collaborated with acclaimed directors such as Capra and Hawks, contributing to the era's vibrant ensemble casts. Despite facing ageism in an industry favoring youth and battling health issues in her later years, she persisted, appearing in more than 50 films overall by 1942, with her final roles in pictures like Joan of Paris (1942).[3]Academy Award nomination
In 1933, May Robson received an Academy Award nomination for Best Actress for her portrayal of Apple Annie in Lady for a Day, directed by Frank Capra.[4] The film, adapted from Damon Runyon's short story "Madame La Gimp," features Robson as an impoverished apple vendor on New York City's streets who transforms into a society lady to impress her visiting daughter.[14] Her performance was lauded for blending heartfelt emotional depth with wry humor, capturing the character's resilience amid hardship.[15] This marked Robson as the first Australian-born individual nominated in any Academy Award category.[16] The nomination occurred at the 6th Academy Awards in 1934, where Lady for a Day also contended for Best Picture and Best Director.[4] Robson, aged 75, ultimately lost the Best Actress honor to Katharine Hepburn for Morning Glory.[4] At the time, she set the record for the oldest nominee in the acting categories, a distinction she held for decades until surpassed in the late 20th century.[17] The recognition elevated Robson's profile in Hollywood, securing her additional leading roles in major productions during the 1930s, including Bringing Up Baby (1938) and The Adventures of Tom Sawyer (1938).[18] It underscored her embodiment of perseverance, as an actress who transitioned from stage to screen late in life and achieved peak acclaim at an advanced age.[19]Death and legacy
Death
May Robson died on October 20, 1942, at the age of 84, at her home in Beverly Hills, California, from a weakened condition aggravated by neuritis, an ailment she had suffered from for several years.[20] Her death marked the end of a prolific career spanning nearly 60 years on stage and screen.[1] In her final months, Robson's health and eyesight had been deteriorating, yet she persisted with her work, appearing in her last film, Joan of Paris (1942), despite these challenges.[1] She passed away peacefully in her sleep at home.[9] A funeral service was held at the Little Church of the Recessional in Forest Lawn Memorial Park, Glendale, California, featuring an Episcopal ceremony conducted by Rev. Neal Dodd and attended by a large crowd, including many Hollywood figures who sent floral tributes.[1] Following cremation, her ashes were interred at Flushing Cemetery in Queens, New York, beside her second husband, Dr. Augustus H. Brown.[1][2] Obituaries in major U.S. newspapers, such as the New York Times, Chicago Tribune, and Times-Advocate, immediately praised Robson as the "grand old lady of the stage and screen," highlighting her enduring contributions to American theater and film.[21][9][20]Legacy
May Robson is recognized as a pioneering figure in Hollywood, becoming the first Australian-born actor to receive an Academy Award nomination for her leading role as Apple Annie in Lady for a Day (1933), at the age of 75—the oldest nominee at the time and a record she held for many years.[3][1] Her achievement highlighted the underrepresented contributions of Australian performers to early American cinema, bridging her native roots in St Kilda, Victoria, with a dominant presence in U.S. entertainment history.[1][22] Robson's transition from a decades-long Broadway stage career, beginning in 1883, to over 60 films exemplified her role as a vital link between theatrical traditions and the emerging screen era, influencing subsequent character actresses through her versatile portrayals in both comedy and drama.[1] Her iconic performance as the resilient, downtrodden Apple Annie—a street vendor transformed by circumstance—left a lasting mark on depictions of elderly women in film, emphasizing their warmth, grit, and hidden depths amid hardship.[3] This role, drawn from Damon Runyon's stories, contributed to the screwball comedy tradition by blending humor with poignant social commentary, as seen in her later work as the imperious Aunt Elizabeth in Bringing Up Baby (1938), where she sparred alongside Katharine Hepburn and Cary Grant to heighten the film's chaotic energy.[3][23] Robson's specialization in crotchety yet endearing grandmothers, often with "hearts of gold," helped shape the archetype of the resilient senior in American cinema, inspiring a lineage of performers who balanced eccentricity with emotional authenticity.[1] Posthumously, Robson has received renewed recognition for her Australian heritage, particularly through film festivals celebrating her silent-era contributions, such as the Oz Silent Film Festival's showcase of her 1927 role in Chicago and the Royal Australian Historical Society's 2025 screening of Snow White (1916), where she starred alongside fellow Australian Dorothy Cumming.[3][24] Scholarly assessments view her as the "dowager queen" of Hollywood, a foundational character actress whose longevity and adaptability underscored the evolving demands of stage-to-screen transitions in the early 20th century.[1] Despite her prolific output and industry tributes, including funeral honors from figures like Louis B. Mayer, Robson does not have a star on the Hollywood Walk of Fame.[1][7] Her enduring influence extends to modern portrayals of tenacious older women, evident in the archetype's persistence in contemporary films and her role in connecting Australian talent to global cinema legacies.[3]Works
Stage works
May Robson's stage career began with her debut on September 17, 1883, in Hoop of Gold at the Brooklyn Grand Opera House, where she played the role of Tillie.[25] She adopted the professional surname "Robson" after a misspelling in the playbill for this production.[1] Following her debut, Robson performed in regional theaters and stock companies across the United States, including early roles in Cincinnati and other Midwestern venues, building her experience in melodrama and comedy before reaching Broadway. Robson appeared in over 50 stage productions throughout her career, including Broadway shows, national tours, vaudeville sketches, and one-acts. Many of her early works were in touring companies. She frequently performed in vaudeville circuits from the 1900s to the 1920s, featuring sketches such as The Making Over of Mrs. Matt (1910s tour) and one-acts like Auntie’s Visit during international tours to Europe and Australia in the 1910s. Her vaudeville appearances included comedic character roles, and extended to stock engagements in major cities like Chicago and San Francisco.[26] She formed her own stock company in the early 1900s and toured America with it through the mid-1920s. The following table lists her verified Broadway productions in chronological order, with roles, theaters, and run details where available. This represents a core portion of her stage works, supplemented by extensive touring and non-Broadway performances.| Year Opened | Title | Role | Theater | Run Length | Notes |
|---|---|---|---|---|---|
| 1888 | Partners | Alice Bellair | Madison Square Theatre | Unknown | Original comedy drama. |
| 1893 | The Younger Son | Performer | Lyceum Theatre | Unknown | Original play; co-production elements with husband.[27] |
| 1894 | The Fatal Card | Performer | Empire Theatre | Dec 31, 1894 – Mar 1895 (approx. 80 performances) | Original melodrama. |
| 1895 | The Importance of Being Earnest | Miss Prism | Empire Theatre | Apr 22, 1895 – May 1895 (approx. 40 performances) | American premiere of Oscar Wilde's comedy. |
| 1895 | The Luck of Roaring Camp | Performer | 14th Street Theatre | May 14–28, 1895 (15 performances) | Original play. |
| 1897 | Never Again | Performer | Lyceum Theatre | Mar 8, 1897 – Unknown | Original farce.[28] |
| 1899 | Lord and Lady Algy | Performer | Empire Theatre | Feb 14 – May 1899 (approx. 120 performances) | Original comedy.[29] |
| 1899 | Lord and Lady Algy (Revival) | Performer | Unknown | Oct 16–end Oct 1899 (short run) | Revival.[29] |
| 1899 | Make Way for the Ladies | Performer | Unknown | Nov 13 – Dec 1899 (approx. 30 performances) | Original farce.[30] |
| 1900 | Self and Lady | Paquita | Unknown | Oct 8–20, 1900 (13 performances) | Original comedy farce. |
| 1900 | Lady Huntworth's Experiment | Performer | Unknown | Dec 21, 1900 – Mar 3, 1901 (approx. 70 performances) | Original comedy. |
| 1901 | Are You a Mason? | Performer | Unknown | Apr 1–end Apr 1901 (short run) | Original farce. |
| 1901 | The Messenger Boy | Mrs. Bang | Garrick Theatre | Sep 16, 1901 – Jan 4, 1902 (approx. 120 performances) | Original musical comedy. |
| 1902 | The Billionaire | Mrs. Peppercorn | Lyric Theatre | Dec 29, 1902 – Apr 1903 (approx. 100 performances) | Original musical farce. |
| 1903 | Dorothy Vernon of Haddon Hall | Performer | Belasco Theatre | Dec 14, 1903 – Jan 1904 (approx. 30 performances) | Original melodrama. |
| 1904 | It Happened in Nordland | Princess Aline | Liberty Theatre | Dec 5, 1904 – Nov 25, 1905 (approx. 350 performances) | Original musical comedy. |
| 1905 | Cousin Billy | Performer | Belasco Theatre | Jan 2 – Mar 1905 (approx. 60 performances) | Original comedy farce. |
| 1906 | The Mountain Climber | Performer | Savoy Theatre | Mar 5 – Apr 1906 (approx. 30 performances) | Original farce. |
| 1907 | The Rejuvenation of Aunt Mary | Aunt Mary | Savoy Theatre | Nov 12 – Dec 1907 (approx. 30 performances) | Original play; adapted from novel, major career milestone. |
| 1911 | The Three Lights | Granmum | Bijou Theatre | Oct 31 – Nov 4, 1911 (5 performances) | Original play; co-written by Robson.[31] |
| 1913 | The Poor Little Rich Girl | Jane Miranda | Hudson Theatre | Nov 21, 1913 – May 1914 (approx. 170 performances) | Original play by Eleanor Gates; Robson as grandmother figure. |
| 1926 | The Two Orphans | La Frochard | Lyceum Theatre | Apr 5 – May 1926 (approx. 48 performances) | Revival drama; final Broadway appearance.[32] |
Silent filmography
May Robson's entry into silent films in the mid-1910s represented an initial foray from her established stage career, though she made only sporadic appearances until a more consistent involvement in the late 1920s.[5] Her early silent work included shorts and features produced by studios like Biograph and Vitagraph, many of which are now lost or poorly preserved historical records. Transitioning to Goldwyn and other major productions in the 1920s, Robson typically played supporting roles as maternal or comedic figures, leveraging her theatrical experience. Below is a chronological list of her verified silent film appearances from 1915 to 1927.| Year | Title | Role | Director | Notes |
|---|---|---|---|---|
| 1915 | How Molly Made Good | Herself | N/A | Biograph short; cameo appearance; released November 1915; presumed lost.[34] |
| 1915 | The Plough Girl | Unspecified | N/A | Early short; supporting role; details sparse; presumed lost.[1] |
| 1916 | A Night Out | Granmum | N/A | Feature adaptation of stage play; supporting role; presumed lost.[5] |
| 1916 | Snow White | Hex Witch | N/A | Short fantasy; supporting role; presumed lost.[35] |
| 1918 | The Dawn Girl | Unspecified | N/A | Feature; supporting role; presumed lost.[1] |
| 1918 | The Prodigal Wife | Unspecified | N/A | Feature; supporting role; presumed lost.[5] |
| 1919 | A Broadway Saint | Unspecified | N/A | Feature; supporting role; presumed lost.[5] |
| 1919 | The Lost Battalion | Unspecified | N/A | War drama; supporting role; partial survival.[5] |
| 1926 | Pals in Paradise | Unspecified | James Parrott | Goldwyn feature; supporting role. |
| 1927 | Rubber Tires | Unspecified | Alan Hale | Feature comedy; supporting role. |
| 1927 | The King of Kings | Unspecified | Cecil B. DeMille | Epic biblical drama; supporting role. |
| 1927 | The Rejuvenation of Aunt Mary | Aunt Mary Watkins | N/A | Comedy feature; supporting role; adaptation of play.[5] |
| 1927 | The Angel of Broadway | Big Bertha | Lois Weber | Drama; supporting role.[3] |
| 1927 | A Harp in Hock | Mrs. Banks | N/A | Comedy; supporting role; presumed lost.[5] |
| 1927 | Turkish Delight | Unspecified | N/A | Comedy short; supporting role; presumed lost.[1] |
| 1927 | Chicago | Mrs. Morton (jail matron) | Frank Urson | Crime drama; supporting role; based on play.[36] |
Sound filmography
May Robson's transition to sound films marked a prolific phase in her career, beginning in the early 1930s and continuing until 1942, during which she appeared in more than 40 feature films, primarily in supporting roles portraying resilient, no-nonsense older women such as grandmothers, aunts, and matrons.[37] Her performances often brought warmth and humor to ensemble casts, with her most celebrated role being the downtrodden yet spirited Apple Annie in Lady for a Day (1933), which earned her a nomination for the Academy Award for Best Actress.[4] This period solidified her status as a beloved character actress in Hollywood's Golden Age, contributing to a total career filmography exceeding 70 titles across silent and sound eras.[38] The following table lists her verified sound film roles chronologically, including key details where available. Billing is typically supporting unless noted as starring or leading.| Year | Title | Director | Character | Billing/Notes |
|---|---|---|---|---|
| 1931 | The Sin of Madelon Claudet | Edgar Selwyn | Madame Claudet | Supporting |
| 1932 | Letty Lynton | Clarence Brown | Mrs. Lynton | Supporting |
| 1932 | If I Had a Million | Multiple (Ernst Lubitsch, Norman Taurog, et al.) | Mrs. Mary Walker | Supporting (anthology segment) |
| 1932 | Little Orphan Annie | John S. Robertson | Mrs. Stewart | Supporting |
| 1932 | Strange Interlude | Robert Z. Leonard | Mrs. Evans | Supporting |
| 1933 | Dinner at Eight | George Cukor | Mrs. Wendel | Supporting |
| 1933 | Lady for a Day | Frank Capra | Apple Annie | Starring; Academy Award nomination for Best Actress[4] |
| 1933 | Alice in Wonderland | Norman Z. McLeod | Queen of Hearts | Supporting |
| 1933 | The White Sister | Victor Fleming | Mother Superior | Supporting |
| 1933 | Beauty for Sale | Richard Boleslawski | Mrs. Merrick | Supporting |
| 1933 | Dancing Lady | Robert Z. Leonard | Dolly Todhunter | Supporting |
| 1933 | One Man's Journey | John S. Robertson | Sarah | Supporting |
| 1933 | Reunion in Vienna | Sidney Franklin | Frau Lucher | Supporting |
| 1934 | Lady by Choice | David Burton | Patricia Patterson | Supporting; sequel to Lady for a Day |
| 1934 | You Can't Buy Everything | Charles Reisner | Mrs. Hannah Bell | Supporting |
| 1934 | The Merry Widow | Ernst Lubitsch | Queen Dolores | Supporting |
| 1934 | Straight Is the Way | Paul Sloane | Mrs. Horowitz | Supporting |
| 1934 | Vanessa: Her Love Story | William K. Howard | Judith Paris | Supporting |
| 1935 | Reckless | Victor Fleming | Granny | Supporting |
| 1935 | Age of Indiscretion | Edward Ludwig | Emma Shaw | Supporting |
| 1935 | Three Kids and a Queen | Edward Ludwig | Grandma Reed (Mary Jane 'Queenie' Baxter) | Supporting |
| 1935 | Stranded | Frank Borzage | Mrs. Tuthill | Supporting |
| 1935 | Anna Karenina | Clarence Brown | Countess Vronsky | Supporting |
| 1935 | A Tale of Two Cities | Jack Conway | Miss Pross | Supporting |
| 1935 | Wife vs. Secretary | Clarence Brown | Mimi Stanhope | Supporting |
| 1936 | The Captain's Kid | Nick Grinde | Aunt Marcia Prentiss | Supporting |
| 1936 | The Invisible Ray | Lambert Hillyer | Lady Arabella | Supporting |
| 1937 | A Star Is Born | William A. Wellman | Lettie (Grandmother Lettie Blodgett) | Supporting; iconic role as aspiring actress's grandmother |
| 1937 | The Perfect Specimen | Michael Curtiz | Mrs. Leona Wicks | Supporting |
| 1937 | Four Daughters | Michael Curtiz | Aunt Etta | Supporting; first in a series |
| 1938 | Bringing Up Baby | Howard Hawks | Aunt Elizabeth | Supporting; iconic comedic role in screwball classic |
| 1938 | The Adventures of Tom Sawyer | Norman Taurog | Aunt Polly | Supporting |
| 1938 | Four's a Crowd | Michael Curtiz | Amy Gallop | Supporting |
| 1938 | They Made Me a Criminal | Busby Berkeley | Grandma (Grandma Rafferty) | Supporting |
| 1939 | Yes, My Darling Daughter | William Keighley | Grandma | Supporting |
| 1939 | The Kid from Kokomo | Lewis Seiler | Margaret 'Maggie' Grayson | Supporting |
| 1939 | Daughters Courageous | Michael Curtiz | Penny | Supporting |
| 1939 | Nurse Edith Cavell | Herbert Wilcox | Mme. Rappard | Supporting |
| 1939 | The Women | George Cukor | Mrs. Moorehead | Supporting; all-female cast |
| 1939 | Blackmail | H.C. Potter | Mrs. Hale | Supporting |
| 1939 | Should Husbands Work? | Gus Meins | Grandma | Supporting (short feature) |
| 1939 | The Adventures of Huckleberry Finn | Richard Thorpe | Widow Douglas | Supporting |
| 1940 | Irene | Herbert Wilcox | Granny O'Dare | Supporting |
| 1940 | Four Wives | Michael Curtiz | Aunt Etta | Supporting; sequel |
| 1940 | The Texas Rangers Ride Again | James Hogan | Cecilia | Supporting |
| 1940 | Granny Get Your Gun | George Amy | Minerva Hildegarde | Supporting |
| 1941 | Million Dollar Baby | Curtis Bernhardt | Cornelia Wheelwright | Supporting |
| 1941 | Playmates | David Butler | Grandma Kyser | Supporting |
| 1941 | Four Mothers | William Keighley | Aunt Etta | Supporting; final in series |
| 1942 | Joan of Paris | Robert Stevenson | Mlle. Rosay | Supporting; final credited role |