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Mary Martin

Birthday: 1913-12-01 Place of Birth: Weatherford, Texas, USA
Synopsis

Mary Virginia Martin was an American actress, singer, and Broadway star. A muse of Rodgers and Hammerstein, she originated many leading roles over her career including Nellie Forbush in South Pacific and Maria von Trapp in The Sound of Music. She was named a Kennedy Center Honoree in 1989. She was the mother of actor Larry Hagman. Martin began her radio career in 1939 as the vocalist on a short-lived revival of The Tuesday Night Party on CBS. In 1940, she was a singer on NBC's Good News of 1940, which was renamed Maxwell House Coffee Time during that year. In 1942, she joined the cast of Kraft Music Hall on NBC, replacing Connie Boswell. She was also one of the stars of Stage Door Canteen on CBS, 1942–1945. Martin was cast in Cole Porter's Leave It to Me!, making her Broadway debut in November 1938 in that production. She became popular on Broadway and received attention in the national media singing "My Heart Belongs to Daddy". With that one song in the second act, she became a star 'overnight'. Martin reprised the song in Night and Day, a Hollywood film about Cole Porter, in which she played herself auditioning for Porter. As nurse Nellie Forbush, Martin opened on Broadway in South Pacific. Her next major success was in the role of Peter in the Broadway production of Peter Pan. Martin opened on Broadway in The Sound of Music, winning the Tony Award for Best Actress in a Musical. Although she appeared in nine films between 1938 and 1943, she was generally passed over for the filmed version of the musical plays. She herself once explained that she did not enjoy making films because she did not have the connection with an audience that she had in live performances. The closest that she ever came to preserving her stage performances was her television appearances as Peter Pan. The Broadway production from 1954 was subsequently performed on NBC television in RCA's compatible color in 1955, 1956, and 1960. Martin also preserved her 1957 stage performance as Annie Oakley in Annie Get Your Gun when NBC television broadcast the production live that year. While Martin did not enjoy making films, she apparently did enjoy appearing on television as she did frequently. Her last feature film appearance was a cameo as herself in MGM's Main Street to Broadway in 1953. Martin made an appearance in 1980 in a Royal Variety Performance in London performing "Honeybun" from South Pacific. Martin appeared in the play Legends with Carol Channing in a one-year US national tour opening in Dallas on January 9, 1986. Martin was inducted into the American Theater Hall of Fame in 1973. She received the Kennedy Center Honors, an annual honor for career achievements, in 1989. She received the Donaldson Award in 1943 for One Touch of Venus. A special Tony was presented to her in 1948 while she appeared in the national touring company of Annie Get Your Gun for "spreading theatre to the rest of the country while the originals perform in New York." In 1955 and 1956, she received, first, a Tony Award for Peter Pan, and then an Emmy for appearing in the same role on television. She also received Tonys for South Pacific and in 1959 for The Sound of Music.

Acting

Peter Pan
as    Peter Pan
In this magical tale about the boy who refuses to grow up, Peter Pan and his mischievous fairy sidekick Tinkerbell visit the nursery of Wendy, Michael and John Darling. With a sprinkling of pixie dust, Peter and his new friends fly out the nursery window and over London to Never-Never Land. The children experience many wonderful and exciting adventures with the Lost Boys, Tiger Lily's Indian tribe, and Peter's arch enemy the dastardly pirate Captain Hook.
Peter Pan
as    Peter Pan
This musical version of the tale of the boy who wouldn't grow up aired live on television on March 7, 1955. It was so popular that it was restaged the following year, and again four years later.
Producers' Showcase
as    Peter Pan
Producers' Showcase is an American anthology television series that was telecast live during the 1950s in compatible color by NBC. With top talent, the 90-minute episodes, covering a wide variety of genres, aired under the title every fourth Monday at 8 p.m. ET for three seasons, beginning October 18, 1954. The final episode, the last of 37, was broadcast May 27, 1957. Showcase Productions, Inc., packaged and produced the series, which received seven Emmy Awards, including the 1956 award for Best Dramatic Series.
Star Spangled Rhythm
as    Mary Martin
Pop, a security guard at Paramount has told his son that he's the head of the studio. When his son arrives in Hollywood on shore leave with his buddies, Pop enlists the aid of the studio's dizzy switchboard operator in pulling off the charade. Things get more complicated when Pop agrees to put together a show for the Navy starring Paramount's top contract players.
Birth of the Blues
as    Betty Lou Cobb
Jeff grows up near Basin Street in New Orleans, playing his clarinet with the dock workers. He puts together a band, the Basin Street Hot-Shots, which includes a cornet player, Memphis. They struggle to get their jazz music accepted by the cafe society of the city. Betty Lou joins their band as a singer and gets Louie to show her how to do scat singing. Memphis and Jeff both fall in love with Betty Lou.
The Great Victor Herbert
as    Louise Hall
In his last film assignment, portly Walter Connolly fills the title role (in more ways than one) in The Great Victor Herbert. Very little of Herbert's life story is incorporated in the screenplay (a closing title actually apologizes for the film's paucity of cold hard facts); instead, the writers allow the famed composer's works to speak for themselves. In the tradition of one of his own operettas, Herbert spends most of his time patching up the shaky marriage between tenor John Ramsey (Allan Jones) and Louise Hall (Mary Martin). Many of Herbert's most famous compositions are well in evidence, including "Ah! Sweet Mystery of Life", "March of the Toys" and "Kiss Me Again", the latter performed con brio by teenaged coloratura Susanna Foster. Evidently, the producers were able to secure the film rights for the Herbert songs, but not for the stage productions in which they appeared, which may explain such bizarre interpolations as having a song from Naughty Marietta.
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