Doro Merande

Plain-looking, angular-framed Doro Merande of both stage and film was one of those delightful character actresses you couldn't take your eyes off of, no matter how minuscule the part. Her careworn features were ideal for playing small-town folk and working class toilers, and she excelled at playing older than she was -- maids, doting aunts, inveterate gossips, curt secretaries and small-minded neighbors -- all topped with an amusing warble in her voice and bristly eccentric edge. Too bad then that she wasn't used more in films, but she preferred live theater and based herself for the most part on the East Coast.

She was born Dora Matthews in Kansas on March 31, 1892, and orphaned as a child. Growing up in various boarding schools, she developed an earnest interest in acting and headed straight to New York to pursued an acting career after schooling. Appearing primarily on the stock and repertory stage, she also played unbilled servile bits in a few early talking films: Interference (1928), which was Paramount's first "talkie," Personal Maid (1931), State Fair (1933), The Rogues' Tavern (1936) and Navy Wife (1935).

The actress changed her stage name to "Doro Merande" as she took her first Broadway curtain call in 1935 with "Loose Moments." Other New York plays would include "One Good Year," "Red Harvest" and "Angel Island," enhancing over 25 Broadway plays in her lifetime. She made a noticeable impression as Mrs. Soames in the classic Thornton Wilder play "Our Town," which led her straight to Hollywood to recreate her indelible character on film. When Our Town (1940) starring William Holden and Martha Scott did not lead to any other film offers, Doro returned East to her first love, the theatre. She continued intermittently on Broadway with parts in "Love's Old Sweet Song," "The More the Merrier," "Junior Miss" (replacement), "The Naked Genius," "Pick Up Girl," "Violet," "Hope for Your Best," "Apple of His Eye," "The Silver Whistle," "The Rat Race," "Four Twelves Are 48," "Lo and Behold!" and "Diary of a Scoundrel."

Returning to films in the post-war years, Doro appeared in a number of delightful film cameos, both billed and unbilled, over the years. Either adding to the comedy fun or providing amusing relief in heavier dramas, her "working class" movie credits included The Snake Pit (1948), Cover Up (1949), Mr. Belvedere Rings the Bell (1951), The Whistle at Eaton Falls (1951), The Seven Year Itch (1955), The Man with the Golden Arm (1955), The Remarkable Mr. Pennypacker (1958), The Gazebo (1959), The Cardinal (1963), Kiss Me, Stupid (1964), The Russians Are Coming the Russians Are Coming (1966), Hurry Sundown (1967), Skidoo (1968), Change of Habit (1969) and Making It (1971). Her final role was as Jennie, the cleaning woman, in The Front Page (1974), a part she played in both the 1969 Broadway revival and 1970 TV movie.

Doro also spiced up a number of TV shows, from the 1950's on, with the anthologies "Lux Video Theatre" and "Kraft Music Theatre," plus "Mister Peppers," "The United States Steel Hour," "Alfred Hitchcock Presents," "Sergeant Bilko," "Thriller," "The Defenders" and "The Twilight Zone." Doro also co-starred with handsome Frank Aletter in the promising comedy series Bringing Up Buddy (1960) as one of two pampering, live-in maiden aunts. The series ended abruptly after only one season because she and the elderly costar Enid Markey, best known for playing "Jane" in the silent Tarzan movie, did not get along. Elsewhere, Doro was a recurring presence as "Aunt Ethel" in the "Honeymooners" sketch on The Jackie Gleason Show (1966).

In late October of 1975, the never-married veteran actress was attending a "Honeymooners" anniversary special in Miami, Florida. During that stay, she suffered a stroke and died on November 1st at a local hospital. She was 83.