60 Facts About Marie Lloyd

Matilda Alice Victoria Wood, professionally known as Marie Lloyd, was an English music hall singer, comedian and musical theatre actress.

Marie Lloyd received both criticism and praise for her use of innuendo and double entendre during her performances, but enjoyed a long and prosperous career, during which she was affectionately called the "Queen of the Music Hall".

Marie Lloyd starred in a further two productions at the theatre, Little Bo Peep and Robinson Crusoe.

Marie 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.

Marie Lloyd was born on 12 February 1870 in Hoxton, London.

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Marie Lloyd's father, John Wood, was an artificial flower arranger and waiter; her mother, Matilda Mary Caroline nee Archer, was a dressmaker and costume designer.

Marie Lloyd was the eldest of nine children and became known within the family circle as Tilley.

Marie Lloyd often took career advice from her mother, whose influence was strong in the family.

Marie Lloyd attended a school in Bath Street, London, but disliked formal education and often played truant; with both her parents working, she adopted a maternal role over her siblings, helping to keep them entertained, clean and well cared-for.

Marie Lloyd enjoyed entertaining her family and decided to form a minstrel act in 1879 called the Fairy Bell troupe, comprising her siblings.

Together with her performances at the Eagle, Marie Lloyd briefly contributed to the family income by making babies' boots, and, later, curled feathers for hat making.

Marie Lloyd was unsuccessful at both and was sacked from the latter after being caught dancing on the tables by the foreman.

Marie Lloyd returned home that evening and declared that she wanted a permanent career on the stage.

On 9 May 1885, at the age of 15, Marie Lloyd made her professional solo stage debut at the Grecian music hall, under the name "Matilda Wood".

Marie Lloyd performed "In the Good Old Days" and "My Soldier Laddie", which proved successful, and earned her a booking at the Sir John Falstaff music hall in Old Street where she sang a series of romantic ballads.

Marie Lloyd's performances were a success, despite her singing other artists' songs without their permission, a practice which brought her a threat of an injunction from one of the original performers.

Marie Lloyd established her new name on 22 June 1886, with an appearance at the Falstaff Music Hall, where she attracted wide notice for the song "The Boy I Love Is Up in the Gallery".

Marie Lloyd soon began making her own costumes, a skill she learned from her mother, and one she used for the rest of her career.

Marie Lloyd undertook a month-long tour of Ireland at the start of 1886, earning £10 per week after which she returned to East London to perform at, amongst others, the Sebright Music Hall, Bethnal Green.

Marie Lloyd became angry at the numerous parties Lloyd hosted for fellow members of the music hall profession including Gus Elen, Dan Leno and Eugene Stratton.

Marie Lloyd took a chance and invited the man into her dressing room, where he identified himself as a member of the French government.

Marie Lloyd confirmed to her that "Twiggy Vous" was "most popular in Paris"; she was delighted at the news.

Between 1891 and 1893, Marie Lloyd was recruited by the impresario Augustus Harris to appear alongside Dan Leno in the spectacular and popular Theatre Royal, Drury Lane Christmas pantomimes.

Marie Lloyd made her American stage debut in 1893, appearing at Koster and Bial's Music Hall in New York.

Marie Lloyd sang "Oh You Wink the Other Eye", much to the delight of her American audiences.

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Marie Lloyd left the marital home, moving to 73 Carleton Road, Tufnell Park and successfully applied for a restraining warrant, which prevented Courtenay from contacting her.

That year, together with a short tour of the English provinces, Marie Lloyd travelled to New York with Hurley, where she appeared at the Imperial Theatre, staying for two months.

Marie Lloyd's campaign persuaded the London County Council to erect large screens around the promenade at the Empire Theatre in Leicester Square, as part of the licensing conditions.

The song, although not lyrically obscene, was considered to be offensive largely because of the manner in which Marie Lloyd sang it, adding winks and gestures, and creating a conspiratorial relationship with her audience.

The committee were left stunned at the performance, but Marie Lloyd argued afterwards that the rudeness was "all in the mind".

In 1896, Marie Lloyd sailed to South Africa with her daughter, who appeared as Little Maudie Courtenay on the same bill as her mother.

Marie Lloyd came to the attention of Barney Barnato, a British entrepreneur who was responsible for mining diamond and gold.

In February 1900, Marie Lloyd was the subject of another benefit performance at the Crown Theatre in Peckham.

Hurley, an established singer of coster songs, regularly appeared on the same bill as Marie Lloyd; his calm nature was a contrast to the abusive personality of Courtenay.

Marie Lloyd was eager to equal the success of her sister Alice, who had become popular in the country a few years previously.

Marie Lloyd was seldom mentioned in the theatrical press in 1910, and when she did perform, it was not to the best of her abilities.

Marie Lloyd became jealous of Lloyd's successful life in the spotlight.

Stoll, although a fan of Marie Lloyd's, disliked the vulgarity of her act and championed a return to a more family-friendly atmosphere within the music hall.

In retaliation, Marie 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".

In 1913, Marie Lloyd was booked by the Orpheum Syndicate to appear at the New York Palace Theatre.

Marie Lloyd claimed that illness made it difficult for her to perform and protested at her billing position.

Marie Lloyd heard the news while appearing in Chicago and sent a wreath with a note saying "until we meet again".

Marie Lloyd started a provincial tour of Liverpool, Aldershot, Southend, Birmingham and Margate, and finished the summer season at the London Hippodrome.

Marie Lloyd played her part and frequently visited hospitals, including the Ulster Volunteer Force Hospital in Belfast, where she interacted with wounded servicemen.

Marie Lloyd toured munitions factories to help boost public morale, but received no official recognition for her work.

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In January 1915, Marie Lloyd appeared at the Crystal Palace where she entertained over ten thousand troops.

Marie Lloyd seldom toured during the war, but briefly performed in Northampton, Watford and Nottingham in 1916.

Marie Lloyd applied for exemption on the grounds he had to look after his parents and four brothers, but his claim was rejected.

Marie Lloyd began drinking to escape the trauma of her domestic abuse.

In July 1919, Marie 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.

Marie Lloyd was devastated at the snub and grew bitter towards her rivals who had been acknowledged.

Marie Lloyd toured Cardiff in 1919, and in 1920 she was earning £11,000 a year.

Marie Lloyd was famous for her generosity, but was unable to differentiate between those in need and those who simply exploited her kindness.

In 1920, Marie Lloyd appeared twice at Hendon Magistrates Court and gave evidence of the abuse she had suffered from Dillon.

Marie Lloyd was conscious of her weak performances and frequently cried between shows.

Marie Lloyd's voice became weak, and she reduced her act to a much shorter running time.

On 12 August 1921, Marie Lloyd failed to show for an appearance at the London Palladium, choosing instead to stay at home and write her will.

Marie Lloyd's performance was weak, and she was unsteady on her feet, eventually falling over on stage.

Marie Lloyd returned home later that evening, where she died of heart and kidney failure, aged 52.

Marie Lloyd was penniless at the time of her death and her estate, which was worth £7,334, helped to pay off debts that she and Dillon had incurred over the years.