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Variety in July called the show, a musical comedy sundae, something light as air but unsatisfying in the long run. They singled out Fuller for praise. Dale Fuller made a slavey role stand out clearly as a cameo as it ran through the whole performance.
This was to be a side story along with that of McTeague, but when the film ran to a massive length, the studio cut most of these scenes from the film.
The 1914 Los Angeles City Directory lists her as a musician, living at 1549 Echo Park Ave. By 1915, Fuller joined Mack Sennetts Keystone as an extra, earning 3.50 a day.
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Several who saw the completed picture thought it would have set her up as one of the screens great actresses, but yet it wasnt to be. MGM did add her to the stock company of actors that year, however.
Her time-worn face and piercing eyes reflected that of someone tenaciously overcoming struggle. Like many performers in the silent film era, Fullers past remains shrouded in mystery. While she was born June 17, 1885 in Santa Ana, supposedly under the name Marie Dale Phillipps, little.
She joined the cast of Harry Bulgurs The Flirting Princess, a musical revue, in 1910 and toured with it off and on around the country for a few years, appearing in such places as San Francisco, Chicago, Washington, and Rhode Island.
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Her expressive, vulnerable eyes and physical presence led fan magazines and trade journals to call her a physical comedienne by 1918, when Fuller landed her own dressing room at the Fine Arts Studio.
They pointed out that she came into Chicago as The Flirting Princess chorus girl, but stole the show in Girl in the Kimona, earning a principal role in the company. Over the next several years, she continued grinding out performing on the stage in comic.