Family background and early life .
Middle: John Wood (father), Matilda (mother), Marie.
Bottom: Annie, Maud, Sydney Lloyd was born on 12 February 1870 in
Hoxton, London. Her father, John Wood (1847–1940), was an
artificial flower arranger and waiter; her mother, Matilda Mary Caroline
née Archer (1849–1931), was a dressmaker and costume designer. Lloyd was the eldest of nine children and became known within the family circle as Tilley. The Wood family were respectable, hard-working, and financially comfortable. Lloyd often took career advice from her mother, whose influence was strong in the family. 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. Along with her sister
Alice, she arranged events in which the Wood children performed at the family home. Lloyd enjoyed entertaining her family and decided to form a
minstrel act in 1879 called the Fairy Bell
troupe, comprising her siblings. Lloyd and the troupe made their début at a mission in Nile Street, Hoxton, in 1880 and followed this with an appearance at the
Blue Ribbon Gospel Temperance Mission later the same year. Costumed by Matilda, Among the songs she performed there was "My Soldier Laddie". Together with her performances at the Eagle, Lloyd briefly contributed to the family income by making babies' boots, and, later, curled feathers for hat making. She was unsuccessful at both and was sacked from the latter after being caught dancing on the tables by the foreman. She returned home that evening and declared that she wanted a permanent career on the stage. Although happy to have her performing in her spare time, her parents initially opposed the idea of her appearing on the stage full-time. She recalled that when her parents "saw that they couldn't kick their objections as high as [she] could kick [her] legs, they very sensibly came to the conclusion to let things take their course and said 'Bless you my child, do what you like'."
Early career and first marriage (formerly the Blue Ribbon Gospel Temperance Mission) On 9 May 1885, at the age of 15, Lloyd made her professional solo stage début at the Grecian
music hall (in the same premises as the Eagle Tavern), under the name "Matilda Wood". She performed "In the Good Old Days" and "My Soldier Laddie", Soon after this, she chose the stage name Bella Delmere and appeared on stage in costumes designed by her mother. Her performances were a success, despite her singing other artists' songs without their permission, News of her act travelled; that October, she appeared at
Collins's Music Hall in
Islington in a special performance to celebrate the theatre's refurbishment, the first time she had appeared outside Hoxton, and two months later, she was engaged at the Hammersmith Temple of Varieties and the
Middlesex Music Hall in
Drury Lane. On 3 February 1886, she appeared at the prestigious Sebright Music Hall in
Bethnal Green, where she met
George Ware, a prolific composer of music hall songs. Ware became her agent and, As her popularity grew, Ware suggested that she change her name. "Marie" was chosen for its "posh" and "slightly French" sound, and "Lloyd" was taken from an edition of ''
Lloyd's Weekly Newspaper''. Lloyd established her new name on 22 June 1886, George Belmont, the Falstaff's proprietor, secured her an engagement at the Star Palace of Varieties in
Bermondsey. She soon began making her own costumes, a skill she learned from her mother, and one she used for the rest of her career. She 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. On 23 October,
The Era called her "a pretty little
soubrette who dances with great dash and energy." , in 1911 By the end of 1886, Lloyd was playing several halls a night and earned £100 per week. She was now able to afford new songs from established music hall composers and writers, including "Harry's a Soldier", "She Has a Sailor for a Lover", and "Oh Jeremiah, Don't You Go to Sea". By 1887, Lloyd began to display a skill for
ad lib, and to gain a reputation for her impromptu performances. It was during this period that she first sang "Whacky-Wack" and "When you Wink the Other Eye", a song which introduced her famous wink at the audience. Unlike her West End audiences who enjoyed her coarse humour, her "
blue" performances did not impress audiences in the
East End. While appearing at the
Foresters Music Hall in
Mile End, she met and began dating Percy Charles Courtenay, a ticket
tout from
Streatham, London. The courtship was brief, and the couple married on 12 November 1887 at
St John the Baptist, Hoxton. In May 1888, Lloyd gave birth to a daughter,
Marie Courtenay (1888–1967). In October 1888, Lloyd returned from maternity leave and joined rehearsals for the 1888–89 pantomime
The Magic Dragon of the Demon Dell; or, The Search for the Mystic Thyme, in which she was cast as Princess Kristina. The production, which was staged between
Boxing Day and February at the Britannia theatre in Hoxton, gave her the security of working close to home for a two-month period. The engagement also gave her much-needed experience of playing to a big audience. The following year, she appeared at more Bohemian venues including the
Empire and the
Alhambra theatres, the
Trocadero Palace of Varieties, and the
Royal Standard playhouse. In 1889, she gave birth to a
stillborn child, which further damaged her marriage. , Leicester Square By the start of the 1890s, Lloyd had built up a successful catalogue of songs, which included "What's That For, Eh?", about a little girl who asks her parents the meaning of various everyday household objects. Her biographer and theatre historian
W. J. MacQueen-Pope described the song as being "blue" and thought that it spoke volumes about her reputation thanks to her "wonderful wink, and that sudden, dazzling smile, and the nod of the head." Similar-styled songs followed; "She'd Never had her Ticket Punched Before", told the story of a young, naive woman travelling to London on her own by train. This was followed by "The Wrong Man Never Let a Chance Go By"; "We Don't Want to Fight, But, by Jingo, If We Do"; and "Twiggy Vous"—a song which won her much success and increased her popularity abroad. At the end of the year, Lloyd returned to London where she appeared in the Christmas pantomime
Cinderella in Peckham alongside her sister Alice.
1890s Drury Lane and success Between 1891 and 1893, Lloyd was recruited by the
impresario Augustus Harris to appear alongside Dan Leno in the spectacular and popular
Theatre Royal, Drury Lane Christmas
pantomimes. While lunching with Harris in 1891 to discuss his offer, Lloyd played coy, deliberately confusing the theatre with the lesser known venue
the Old Mo so as not to appear conscious of Drury Lane's successful reputation; she compared its structure to that of a prison. Secretly, she was thrilled with the offer, and were highly lucrative, but Lloyd found working from a script restrictive. Her first role was Princess Allfair in
Humpty Dumpty; or, The Yellow Dwarf and the Fair One, which she dismissed as being "Bloody awful, eh?" She received mixed reviews for her opening performance.
The Times described her as being "playful in gesture, graceful in appearance, but not strong in voice." Despite the weak start (which Lloyd blamed on nerves), the pantomime received glowing reviews from the theatrical press. The ''London Entr'acte'' thought that she "delivere[d] her text quite pungently, and sings and dances with spirit too." She was noted for her acrobatic dancing on stage, and was able to display handstands, tumbles and high kicks. As a boy, the writer
Compton Mackenzie was taken to the show's opening night and admitted that he was "greatly surprised that any girl should have the courage to let the world see her drawers as definitely as Marie Lloyd." Lloyd's biographer
Midge Gillies defines 1891 as being the year that she officially "made it" thanks to a catalogue of hit songs and major success in the halls and pantomime. When she appeared at the Oxford music hall in June, the audience cheered so loudly for her return that the following act could not be heard;
The Era called her "the favourite of the hour". During the summer months, she toured North England, including
Liverpool,
Birmingham and
Manchester. At the last she stayed an extra six nights due to popular demand, which caused her to cancel a trip to Paris. The 1892 pantomime was ''Little Bo Peep; or, Little Red Riding Hood and Hop O' My Thumb'', in which she played Little Red Riding Hood. The production was five hours long and culminated with the show's
harlequinade. During one scene, her improvisational skills caused some scandal when she got out of bed to pray, but instead reached for a
chamber pot. The stunt angered Harris, who ordered her not to do it again or risk immediate dismissal.
Max Beerbohm, who was in a later audience, said "Isn't Marie Lloyd charming and sweet in the pantomime? I think of little besides her." On 12 January 1892, Lloyd and Courtenay brawled drunkenly in her Drury Lane dressing room after an evening's performance of
Little Bo-Peep. Courtenay pulled a decorative sword off the wall and threatened to cut her throat; she escaped from the room with minor bruises and reported the incident to the
Bow Street police station. In early 1893, she travelled to
Wolverhampton where she starred as Flossie in another unsuccessful piece called
The A.B.C Girl; or, Flossie the Frivolous, Lloyd made her American stage début in 1893, appearing at
Koster and Bial's Music Hall in New York. She sang "Oh You Wink the Other Eye", much to the delight of her American audiences. Other numbers were "After the Pantomime" and "You Should Go to France and See the Ladies Dance", which both required her to wear provocative costumes. Her performances pleased the theatre proprietors, who presented her with an antique tea and coffee service. Upon her return to London, Lloyd introduced "Listen with the Right Ear", which was an intended follow-up to "Oh You Wink the Other Eye". Shortly after her return, she sailed to France, to take up an engagement in Paris. Her biographer
Daniel Farson thought that she received "greater acclaim than any other English comedienne who had preceded her". She changed the lyrics to some of her best-known songs for her French audience and retitled them, "The Naughty Continong"; "Twiggy Vous"; "I'm Just Back from Paris" and "The Coster Honeymoon in Paris". At Christmas in 1893, she returned to London to honour her final Drury Lane commitment, starring as Polly Perkins in
Robinson Crusoe. The part allowed her to perform "The Barmaid" and "The Naughty Continong" and saw her perform a
mazurka with Leno. Talking to a friend years later about her Drury Lane engagements, she admitted that she was "the proudest little woman in the world". 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. A few weeks later, Lloyd began an affair with the music hall singer
Alec Hurley,
Risqué reputation and transatlantic tours By 1895, Lloyd's risqué songs were receiving frequent criticism from theatre reviewers and influential
feminists. As a result, she often experienced resistance from strict theatre censorship which dogged the rest of her career. The writer and feminist
Laura Ormiston Chant, who was a member of the Social Purity Alliance, disliked the bawdiness of music hall performances, and thought that the venues were attractive to prostitutes. Her 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 screens were unpopular and protesters, among them the young
Winston Churchill, later pulled them down. That November at the
Tivoli theatre, Lloyd performed "Johnny Jones", a ditty about a girl who is taught the facts of life by her best male friend. The song, although not lyrically obscene, was considered to be offensive largely because of the manner in which Lloyd sang it, adding winks and gestures, and creating a conspiratorial relationship with her audience. Social reformers cited "Johnny Jones" as being offensive, but less so compared to other songs of the day. Upon the expiry of a music hall's entertainments licence, the Licensing Committee tried to use the lyrical content of music hall songs as evidence against a renewal. She sang "Oh! Mr Porter" (composed for her by
George Le Brunn); "A Little of What You Fancy"; which she retitled "I Sits Amongst the Cabbages and Leeks" after some protest. The numbers were sung in such a way that the committee had no reason to find anything amiss. Feeling disgruntled at the council's interference, she then rendered
Alfred Tennyson's drawing-room ballad "
Come into the Garden, Maud" with leers and nudges to illustrate each innuendo. The committee were left stunned at the performance, but Lloyd argued afterwards that the rudeness was "all in the mind". To avoid social unrest, Hackney council scrapped the licensing restrictions on 7 October 1896. In 1896, Lloyd sailed to South Africa with her daughter, who appeared as Little Maudie Courtenay on the same bill as her mother. Lloyd came to the attention of
Barney Barnato, a British entrepreneur who was responsible for
mining diamond and gold. Barnato lavished gifts on her in an attempt to woo her, but his attempts were unsuccessful; nevertheless, the two remained friends until his death in 1897. The tour was a triumph for Lloyd, and her songs became popular among her South African audience. She performed "Wink the Other Eye", "Twiggy-Vous", "Hello, Hello, Hello", "Whacky, Whacky, Whack!", "Keep Off the Grass", and "Oh! Mr Porter". Feeling satisfied at the success she had achieved, Lloyd returned to London once the two-month tour had ended.
The Era commented that "Miss Lloyd's clever character work, her versatility and unflagging endeavours to please were rewarded with deserved success". That Christmas, she appeared in pantomime, this time at the Crown Theatre in
Peckham in a production of
Dick Whittington in which she played the title role. In it, she sang "A Little Bit Off the Top", which MacQueen-Pope describes as being "one of the pantomime songs of the year".
The Music Hall and Theatre Review was equally complimentary, saying: "Brilliant Repertory, Charming Dresses, A Unique Personality!" During the Christmas period of 1898–9, Lloyd returned to the Crown where she took her benefit, during which she appeared in
Dick Whittington. The entertainment culminated with a song from
Vesta Victoria, and a short piece called
The Squeaker, starring
Joe Elvin.
1900s In February 1900, Lloyd was the subject of another benefit performance at the Crown Theatre in Peckham.
Kate Carney, Vesta Tilley and Joe Elvin were among the star turns who performed before the main piece,
Cinderella, which starred Lloyd, her sister Alice, Kittee Rayburn and Jennie Rubie. The same year, although her divorce was not yet finalised, Lloyd went to live with Hurley in
Southampton Row, London. Hurley, an established singer of
coster songs, regularly appeared on the same bill as Lloyd; his calm nature was a contrast to the abusive personality of Courtenay. Lloyd and Hurley set sail for a tour of Australia in 1901, opening at
Harry Rickards Opera House in Melbourne on 18 May with their own version of "The Lambeth Walk". After the successful two-month tour, Lloyd and Hurley returned to London where she appeared in the only
revue of her career. Entitled
The Revue, it was written by
Charles Raymond and Phillip Yorke with lyrics by Roland Carse and music by Maurice Jacobi. It was staged at the Tivoli theatre, in celebration of the Coronation of King Edward VII. Lloyd and Courtenay's divorce became absolute on 22 May 1905, and she married Hurley on 27 October 1906. Hurley, although ecstatic with his earlier success in Australia, began feeling sidelined by his wife's popularity. MacQueen-Pope suggested that "[Hurley] was a star who had married a planet. Already the seeds of disaster were being sown."
Music hall strikes of 1907 '' Shortly after her marriage to Hurley, Lloyd went to
Bournemouth to recuperate from exhaustion. Within days she was back performing in London music halls. From the start of the new century, music hall artistes and theatre managers had been in dispute over working conditions, a reduction in pay and perks, and an increased number of matinée performances. The first significant rift was a 1906 strike, initiated by the
Variety Artistes' Federation. The following year,
the Music Hall War commenced, which saw the Federation fight for more freedom and better working conditions on behalf of music-hall performers. Although popular enough to command her own fees, Lloyd supported the strike, acted as a
picket for the strikers and gave generously to the strike fund. To raise spirits, she often performed on picket lines and took part in a fundraising performance at the
Scala Theatre. The dispute ended later the same year with a resolution broadly favourable to the performers. In 1909, Lloyd appeared at the Gaiety Theatre in
Dundee where a critic for
The Courier noted "Her bright smile and fascinating presence has much to do with her popularity, while her songs are of the catchy style, perhaps not what a Dundee audience is familiar with, but still amusing and of an attractive style."
Relationship with Bernard Dillon Despite their marital problems, Lloyd went on an American tour with Hurley in 1908. She was eager to equal the success of her sister Alice, who had become popular in the country a few years previously. Lloyd and the young sportsman began an open and passionate affair. For the first time, her private life eclipsed her professional career. She was seldom mentioned in the theatrical press in 1910, and when she did perform, it was not to the best of her abilities. The writer
Arnold Bennett, who witnessed her on stage at the Tivoli Theatre in 1909, admitted that he "couldn't see the legendary cleverness of the vulgarity of Marie Lloyd" and accused her songs of being "variations of the same theme of sexual naughtiness." As with Courtenay years previously, the shy and retiring Dillon was finding it hard to adapt to Lloyd's elaborate and sociable lifestyle. Dillon's success on the racecourse was short lived. In 1911, he was expelled from the
Jockey Club for borrowing £660 to bet on his own horses to win. Dillon's horses lost, and he ended up in debt to trainers. Depression led to drink and obesity, and he started to abuse her. Hurley, meanwhile, had initiated divorce proceedings, the strain of which caused him to drink heavily, which in turn finished his theatrical career. Lloyd left the marital home in Hampstead and moved to
Golders Green with Dillon, a move which MacQueen-Pope describes as being "the worst thing she ever did."
Later years A new show in London in 1912 showcased the best of music hall's talent. The
Royal Command Performance took place at the
Palace Theatre in London, which was managed by
Alfred Butt. The show was organised by
Oswald Stoll, an Australian impresario who managed a string of
West End and provincial theatres. Stoll, although a fan of Lloyd's, disliked the vulgarity of her act and championed a return to a more family-friendly atmosphere within the music hall. Because of this, and her participation in the earlier music hall war, Stoll left her out of the line-up. In retaliation, 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". She performed "One Thing Leads to Another", "Oh Mr Porter", and "The Boy I Love Is up in the Gallery" and was hailed as "the Queen of Comedy" by critics. The same year, she travelled to
Devon where she appeared at the Exeter Hippodrome to much success.
The Devon and Exeter Gazette, reported that Lloyd's performance of "Every Movement Tells a Tale", was "thoroughly enjoyed" by the audience and "[received] round after round of applause". The paper also praised her recital of a "Cockney girl's honeymoon in Paris", which was met by "roars of laughter".
Scandal in America In 1913, Lloyd was booked by the Orpheum Syndicate to appear at the
New York Palace Theatre. She and Dillon set sail on the
RMS Olympic under the name Mr and Mrs Dillon and were met at the American port by her sister Alice, who had resided in the country for many years. Upon arrival, Lloyd and Dillon were refused entry when the authorities found out that they were not married, as they had claimed when applying for entry visas. They were detained and threatened with deportation on the grounds of
moral turpitude and were sent to
Ellis Island while an enquiry took place. Dillon was charged under the
White Slave Act with attempting to take into the country a woman who was not his wife, and Lloyd was charged with being a passive agent. Alice later stated that "the indignity of the subsequent experience [while in custody] went to Marie's heart in a way she never survived. She could not bear to talk of that awful twenty-four hours." , the organiser of Lloyd's final trip to America Despite the problems, the tour was a success, and Lloyd performed to packed theatres throughout America. Her act featured the songs "The Twiddly Wink", "I'd Like to Live in Paris All the Time (The Coster Girl in Paris)", and "The Aviator". The numbers were popular, partly due to the Americanisation of each song's lyrics. On a personal level, Lloyd's time in America was miserable and was made worse by the increasing domestic abuse she received from Dillon. The assaults caused her to miss several key performances, which angered the theatre manager,
Edward Albee, who threatened her with a breach of contract action. She claimed that illness made it difficult for her to perform and protested at her billing position. The theatrical press were not convinced. The
New York Telegraph speculated "In vaudeville circles her domestic relations are thought to be at the bottom of her attacks of disposition." Back in England, Hurley had died of
pleurisy and
pneumonia on 6 December 1913. Lloyd heard the news while appearing in Chicago and sent a wreath with a note saying "until we meet again". She was reported in
The Morning Telegraph as saying: "With all due respect to the dead, I can cheerfully say that's the best piece of news I've heard in many years, for it means that Bernard Dillon and I will marry as soon as this unlucky year ends." Lloyd married Dillon on 21 February 1914, the ceremony taking place at the British
Consulate in
Portland, Oregon. When the tour finished, Lloyd commented, "[I will] never forget the humiliation to which I have been subjected and I shall never sing in America again, no matter how high the salary offered."
First World War and final years Lloyd and Dillon returned to England in June 1914. She sang "The Coster Honeymoon in Paris" and "Who Paid the Rent for Mrs Rip Van Winkle?", the latter of which had been received particularly well with her American audiences. Within a fortnight, Britain was
at war, which threw the music-hall world into disarray. The atmosphere in London's music halls had turned patriotic, and theatre proprietors often held charity events and benefits to help the
war effort. Lloyd played her part and frequently visited hospitals, including the Ulster Volunteer Force Hospital in
Belfast, where she interacted with wounded servicemen. She also toured munitions factories to help boost public morale, but received no official recognition for her work. During 1914, she scored a hit with "
A Little of What You Fancy Does You Good", which critics thought captured her life perfectly up until that point. The song is about a middle-aged woman who encourages the younger generation to enjoy themselves, rather than indulging in life's excitement herself. During the rendition, Lloyd depicts a young couple who cuddle and kiss on a railway carriage, while she sits back and recalls memories of her doing the same in years gone by. In January 1915, Lloyd appeared at the
Crystal Palace where she entertained over ten thousand troops. At the end of that year, she performed her only war song, "Now You've Got your Khaki On", composed for her by Charles Collins and Fred W. Leigh, about a woman who found the army uniform sexy and thought that wearing it made the average pot-bellied gentleman look like a muscle-toned soldier. Lloyd's brother John appeared with her on stage dressed as a soldier and helped characterise the ditty. Following this, she sang the already well-established songs "If You Want to Get On in Revue", which depicted a young girl who offered sexual favours to promote her theatrical career, and "The Three Ages of Woman", which took a cynical look at men from a woman's perspective. She seldom toured during the war, but briefly performed in
Northampton,
Watford and
Nottingham in 1916. By the end of that year, she had suffered a nervous breakdown which she blamed on her hectic workload and a delayed reaction to Hurley's death. During the war years, Lloyd's public image had deteriorated. but his claim was rejected. In a later failed attempt, he tried to convince army officials that he was too obese to carry out military duties. On the rare occasions when Dillon was allowed home on leave, he would often indulge in drinking sessions. One night, Lloyd's friend Bella Burge answered a knock at the front door to find a hysterical Lloyd covered in blood and bruises. When asked to explain what had caused her injuries, she stated that she had caught Dillon in bed with another woman and had had a showdown with her husband. By 1917, Dillon's drinking had become worse. That June, two constables were called to Lloyd and Dillon's house in Golders Green after Dillon committed a drunken assault on his wife. Police entered the house and found Lloyd and her maid cowering beneath a table. Dillon confronted the constables and assaulted one of them, which resulted in him being taken to court, fined and sentenced to a month's hard labour. Lloyd began drinking to escape the trauma of her domestic abuse. That year, she was earning £470 per week performing in music halls and making special appearances. By 1918, she had become popular with the British-based American soldiers, but had failed to capture the spirits of their English counterparts, and began feeling sidelined by her peers;
Vesta Tilley had led a very successful recruitment drive into the services, and other music hall performers had been honoured by royalty. The lyrics reflected the hardships of working class life in London at the beginning of the 20th century, and gave her the chance to costume the character in a worn out dress and black straw boater, while carrying a birdcage. In July 1919, 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. She was devastated at the snub and grew bitter towards her rivals who had been acknowledged. Her biographer Midge Gillies compared Lloyd to a "talented old aunt who must be allowed to have her turn at the piano even though all everyone really wants is jazz or go to the Picture Palace". She toured
Cardiff in 1919, and in 1920 she was earning £11,000 a year. Her extravagant tastes, an accumulation of
writs from disgruntled theatre managers, an inability to save money, and generous hand-outs to friends and family, resulted in severe money troubles during the final years of her life. Soon afterwards, she separated from him and, as a result, became depressed. By now, she was becoming increasingly unreliable on stage; she appeared at a theatre in Cardiff for a mere six minutes before being carried off by stage hands. During the performance, she seemed dazed and confused, and she stumbled across the stage. She was conscious of her weak performances and frequently cried between shows.
Virginia Woolf was among the audience at the Bedford Music Hall on 8 April 1921 and described Lloyd as "A mass of corruption – long front teeth – a crapulous way of saying 'desire', and yet a born artist – scarcely able to walk, waddling, aged, unblushing." In April 1922, Lloyd collapsed in her dressing room after singing "The Cosmopolitan Girl" at the Gateshead Empire in Cardiff. Her doctor diagnosed exhaustion, and she returned to the stage in August. Her voice became weak, and she reduced her act to a much shorter running time. Her biographer
Naomi Jacob thought that Lloyd was "growing old, and [she] was determined to show herself to her public as she really was ... an old, grey-faced, tired woman". On 12 August 1921, Lloyd failed to show for an appearance at the
London Palladium, choosing instead to stay at home and write her will. On 4 October, against her doctor's advice, Three days later, while appearing at the Alhambra Theatre, she was taken ill on stage and was found later in her dressing room crippled with pain, complaining of stomach cramps. She returned home later that evening, where she died of heart and kidney failure, aged 52. More than 50,000 people attended her funeral at
Hampstead Cemetery on 12 October 1922. 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. In their announcement of Lloyd's death,
The Times wrote: In her the public loses not only a vivid personality whose range and extremely broad humour as a character actress were extraordinary, but also one of the few remaining links with the old music-hall stage of the last century. Writing in
The Dial magazine the following month,
T. S. Eliot claimed: "Among [the] small number of music-hall performers, whose names are familiar to what is called the lower class, Marie Lloyd had far the strongest hold on popular affection." The
impersonator Charles Austin paid tribute by saying "I have lost an old pal, and the public has lost its principal stage favourite, one who can never be replaced." ==Notes and references==