Daisy Belmore

Belmore pictured in 1897

Belmore's career started at around the age of 8 and by 15, she was a leading comedienne, touring the world and played in repertoire with Wilson Barrett's company,[5] with whom she had been with since the start of her career. In her earlier years, she would play child parts alongside her brother and together they played in The Silver King. During this time, she recalled how her mother would play the "heavy character" parts, while her older sister would play comedian roles and her sister's husband would play other character roles. She took time out of acting to attend school and returned to the stage at the age of 15. Recalling her first acting part, she had just two sentences to speak and entered the stage "with my knees quaking under me", yet could only whisper when expected to speak. Upon returning to her dressing room, her mother suggested that she give up on any thought of being a stage actress, believing that she had "no voice and absolutely no gifts for it", noting that for her to continue would risk disgrace to their family name and reputation.[4]

As part of the Wilson Barrett Company, she toured the world, visiting America several times and in 1898, toured Australia for the first time. She praised the Australian audiences as being enthusiastic and knowing when to laugh or not, depending on the seriousness of the scene.[6]

Daisy Belmore as Dacia pictured in October 1901

During a tour of Australia in 1901, Belmore played Dacia in The Sign of the Cross.[7] She came to the United States in 1910, having sailed from Southampton, England and arriving in New York on 29 July 1910,[8] to appear in the musical comedy Our Miss Gibbs which was produced by Charles Frohman.[9] Following a period working under Frohman, she later worked with William Faversham in a 1911 production of The Faun, alongside her brothers.[3]

In 1921, she had the biggest hit of her career to date in Three Live Ghosts, playing the character Old Sweetheart, a "gin drinking lovable old mother"[3] which earned her much praise "for her skillful work as the old lady with a mercenary mind".[10] Belmore had to disfigure her appearance for the role, as she was known for her good looks which was not in keeping with her character. Her appearance was so transformative that she was seldom recognised in the street by those who had seen the play, with her feeling concerned that people may have believed her disfigured looks to be natural.[11]

She visited Australia again in 1927, the first time in 17 years since she found fame in America, having resided in New York continuously during that time. Upon her return to Australia, she remarked how the progress Sydney had made during her time away was "simply marvellous". Belmore was considered as having a "rare quality of mature judgement" with frank opinions, noted during an interview she gave during her stay in Australia.[12] In 1928, she was part of a "strong cast" for the silent film We Americans,[13] starred in the drama film Seven Days Leave in 1930[14] and in 1931, was part of the supporting cast of My Past, alongside known stars such as Joan Blondell and Virginia Sale.[15] Belmore helped train and mentor Nellie Bramley as an upcoming Australian stage actress, helping her practice scene work in Shakespearean drama.[16]

Outside of films, Belmore was also a theatre actress, having directed and toured for 40 weeks with The Vagabond King, the majority of time spent in Chicago.[17] In 1932, she toured with the "largest dramatic road show" in a production of The Apple Cart by George Bernard Shaw.[18] Other plays she appeared in or directed include Angel Street, Best of Spirits, and His Makers.[17]

Daisy Belmore as the servant in Angel Street, 1943

Her career as an actress and director took her to various countries around the world, including Australia, Africa, and India. By the late 1940s, Belmore was director of New York's American Theater and in 1947, presented Little Women at Huntingdon College as a free public service.[17]