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Irene Dailey
Irene Dailey
Irene Dailey
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Irene Dailey (September 12, 1920 – September 24, 2008)[1][2] was an American stage, film, and television actress.

Key Information

Early years

[edit]

Dailey was born on September 12, 1920,[3] in New York City, the daughter of Helen Theresa (née Ryan) and Daniel James Dailey.[1] She had a sister and two brothers,[4] one of whom was actor Dan Dailey.[1] She began appearing in vaudeville at age 8 and performed in summer stock productions in her teenage years. She was a student of Herbert Berghof and Uta Hagen.[5]

Career

[edit]

By age 42, Dailey had been in "about a dozen Broadway plays", none of which were successful.[4] For 17 of her first 23 years as an actress she worked as a waitress to support herself. During another five-year span she opened a shop on New York's East Side, making and selling lampshades. She also had psychoanalysis to help her deal with her problems.[4]

In 1965, Dailey taught at, and was director of, the School of the Actor's Company in New York.[6]

Dailey received the 1966 Drama Desk Award for her work in Rooms,[7] and played Nettie Cleary in the original Broadway production of the Tony Award-winning drama, The Subject Was Roses (1964).[1] Other Broadway credits included Idiot's Delight, The Good Woman of Szechwan, and You Know I Can't Hear You When the Water's Running.[3]

In 1969, Dailey joined the cast of the long-running CBS serial The Edge of Night as Pamela Stewart,[1] the vindictive wife of Nicole Drake's ex-husband Duane who stabbed Stephanie Martin to death. In 1971 she won the Sarah Siddons Award for her work in Chicago theatre. Dailey later joined the cast of Another World in 1974 as the fourth actress to play the role of family matriarch Liz Matthews. While other members of the Matthews family were written out in the early 1980s, she remained a major character on the show until the summer of 1986, returning in November 1987 on a non-contract basis, being prominently featured in the show's 25th and 30th anniversary shows, and making her last appearance in May 1994.[1]

Her work on Another World was recognized with a Daytime Emmy Award for Outstanding Actress in 1979;[1] two of her fellow nominees were her AW costars Victoria Wyndham and Beverlee McKinsey.[2] The meddling "Aunt Liz" was first a rival with Rachel for the love of Mac Cory, and later became his secretary. As Liz mellowed, Dailey was allowed to show her flair for comedy, but as the Matthews family dwindled onscreen, she became a sounding board for various friends and family and a well-meaning busy-body. After the death of Liz's great niece Sally, Dailey was written out, but the following year was brought back due to popular demand. The Matthews family had a brief resurgence, and Liz became a confidante for her great niece Olivia. After that storyline ended, Liz continued to appear at special events, most notably at Ada Hobson's memorial and at a Cory Publishing gathering which coincided with the show's 30th anniversary. After her final appearance in 1994, she appeared on Broadway in a revival of the Strindberg play The Father, receiving excellent notices for her performance as Frank Langella's nurse who must manipulate him into a straitjacket after he goes insane. Her film credits include No Way to Treat a Lady (1968), Five Easy Pieces (1970) and The Amityville Horror (1979).[1]

According to Dailey, she was a self-described lifelong Democrat and a practicing Catholic.[8] She never married nor had any children due to a lack of interest in either.[9]

Personal life and death

[edit]

Dailey did not marry, and she had no children.[5] She died on September 24, 2008, in Santa Rosa, California.[1] The cause was colon cancer, according to Arleen Lorrance, a longtime friend. She had been a resident of Guerneville.[5]

Filmography

[edit]

Film

[edit]
Year Title Role Notes
1968 Daring Game Mrs. Carlyle
1968 No Way to Treat a Lady Mrs. Fitts
1970 Five Easy Pieces Samia Glavia
1971 The Grissom Gang Gladys 'Ma' Grissom
1979 The Amityville Horror Aunt Helena

Television

[edit]
Year Title Role Notes
1958 Decoy Millie Baker "Blind Date"
1959 Naked City Amy Gary "Four Sweet Corners"
1962 Naked City Auntie Maud "Goodbye Mama, Hello Auntie Maud"
1962 The Defenders Mrs. Prinzler "The Avenger"
1962 Sam Benedict Amelia Carter "Everybody's Playing Polo"
1963 The Twilight Zone Miss Frank "Mute"
1963 Dr. Kildare Sara Anderson "A Trip to Niagara"
1963 The Eleventh Hour Agatha Miller "The Bride Wore Pink"
1964 Ben Casey Caroline Bullard "Heap Logs and Let the Blaze Laugh Out"
1964 Brenner Mrs. Friedman "The Vigilantes"
1965 The Nurses Annie Cloyne "Threshold"
1966 Hawk Hallie Simmons "How Close Can You Get?"
1968 NET Playhouse Ruth "Home"
1969–1970 The Edge of Night Pamela Stewart TV series
1972 Jigsaw Mrs. Cummings TV film
1974–1986 Another World Liz Matthews Contract role
1987 American Playhouse Mrs. McGuire "Stacking"
1987–1994 Another World Liz Matthews Recurring role
(final appearance)

Selected discography

[edit]
  • 1965: Of Poetry and Power: Poems Occasioned by the Presidency and by the Death of John F. Kennedy (Folkways Records)
  • 1967: The Wick and the Tallow By Henry Gilfond (Folkways Records)

Further reading

[edit]

References

[edit]
[edit]
Revisions and contributorsEdit on WikipediaRead on Wikipedia

Irene Dailey

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from Grokipedia
Irene Dailey (September 12, 1920 – September 24, 2008) was an American actress celebrated for her versatile performances across theater, television, and film, particularly her breakthrough role as the emotionally complex mother Nettie Cleary in the - and Tony Award-winning play (1964). Born in to Daniel Dailey, a hotel manager at the Roosevelt Hotel, and Helen Ryan Dailey, she was the younger sister of entertainer , a prominent Hollywood song-and-dance man. Dailey never married and had no children; living her later years in , she died of colon cancer in Santa Rosa at age 88. Dailey's career spanned over six decades, beginning in childhood with dancing at age 8 and productions by 18. On Broadway, she appeared in more than a dozen shows in the and 1950s, often in challenging roles amid commercial failures like Springtime Folly (), before achieving critical acclaim in , directed by , which established her as a "luminous" interpreter of vulnerable, quick-witted women. Her theater work extended to London's West End in the lead of Tomorrow — With Pictures (1960) and successes, including a Drama Desk Award for Rooms (1966); her final stage appearance was as Margaret in Richard Nelson's adaptation of The Father (1996) at the Roundabout Theatre. In television, Dailey gained widespread recognition for her portrayal of the meddlesome yet loving Liz Matthews on the daytime Another World from 1974 to 1986 and again from 1988 to 1994, earning her a Daytime Emmy Award for Outstanding Lead Actress in a Series in 1979. She also featured in other series such as (1969), , , and , showcasing her range in dramatic and suspenseful roles. Her film credits, though fewer, included supporting parts in No Way to Treat a Lady (1968), (1970), and (1979). Between acting gigs, Dailey supported herself as a and by operating a store, while also co-founding the School of Actors Company in 1961 and teaching acting for a decade under influences like and .

Early life

Family and upbringing

Irene Dailey was born on September 12, 1920, in , to Daniel James Dailey and Helen Ryan Dailey. Her father served as the manager of the Roosevelt Hotel in , a prominent establishment that opened in 1924 and quickly became a gathering place for celebrities, aristocrats, and performers during the . The Dailey family background was closely tied to the vibrant entertainment world of early 20th-century New York, largely through her older brother, , who began his career as an actor, singer, and dancer in and minstrel shows during his youth. This familial immersion in performance arts provided Irene with early exposure to the stage, fostering her interest amid the bustling theater scene of the era. later achieved significant success in Hollywood as a song-and-dance man. Raised in during the culturally rich , Dailey's childhood unfolded in an environment saturated with houses, Broadway theaters, and the hotel industry's intersection with luminaries, all of which shaped her foundational experiences without formal training in . The proximity to these influences, combined with her family's dynamics, immersed her in a milieu where was a constant presence.

Initial acting experiences

Irene Dailey began her performing career at the age of eight, appearing in shows where she danced and performed, marking her earliest exposure to the stage. These childhood experiences were influenced by her family's theatrical inclinations, particularly her older brother , who was already pursuing acting, though her father, a , opposed her ambitions in the field. During her teenage years, Dailey transitioned to productions, gaining practical experience in regional theater around age 18 in 1938. This period allowed her to hone her skills in ensemble roles and touring companies, building on the foundation amid the competitive entertainment landscape of the late . In the early 1940s, Dailey made her professional stage debut in stock theater, appearing in Out of the Frying Pan and at the Red Barn Theatre in Locust Valley, New York, in 1941. However, she encountered significant challenges as a young actress, including consistent professional setbacks such as being cast in short-lived productions and even a brief firing from a , which contributed to personal hardships like a prolonged nervous breakdown and as a waitress and lampshade shop owner. These early struggles persisted despite her brother's rising success in film and theater, underscoring the precarious nature of her initial steps toward a serious acting career.

Career

Stage career

Irene Dailey began her professional stage career in the early 1940s, making her Broadway debut in the short-lived mystery comedy Nine Girls in 1943, where she played the role of Stella. Her early Broadway appearances often placed her in supporting roles within productions that struggled to find audiences, such as Truckline Cafe (1946) as Angie and Idiot's Delight (1951 revival) as Shirley, reflecting the challenges she faced in establishing a foothold amid frequent commercial disappointments. These experiences honed her skills in dramatic ensemble work, drawing from her foundational training in starting at age 18, where she performed in regional theaters across the . A pivotal shift occurred in 1949 when Dailey immersed herself in Method acting techniques, studying intensively at the HB Studio under mentors Herbert Berghof and Uta Hagen beginning at age 29. This training influenced her approach to character depth and emotional authenticity, evident in subsequent roles like Mrs. Shin in Bertolt Brecht's The Good Woman of Setzuan (1956) and Adele Farnum in Miss Lonelyhearts (1957). She later collaborated directly with her mentors in the 1955 off-Broadway production of Cyprienne, an adaptation produced and performed by Hagen and Berghof, alongside Robert Culp, showcasing her ability to integrate into intimate, director-driven ensembles. Dailey's breakthrough on Broadway came with her portrayal of Nettie Cleary in Frank D. Gilroy's (1964–1966), a role that captured the tensions of a working-class family and contributed to the play's success, running over 800 performances and earning the . This performance marked a turning point, highlighting her reputation for intense, emotionally layered characterizations of complex women. Off-Broadway, she achieved critical acclaim in James Bridges' (1966), winning the Drama Desk Award for Outstanding Performance and demonstrating her versatility in contemporary, introspective dramas. Throughout the 1960s and beyond, Dailey balanced Broadway commitments with and regional work, including her lead role in the London West End production of Tomorrow — With Pictures (1960) and experimental-leaning productions like and revivals such as , which allowed her to explore character-driven narratives beyond mainstream commercial theater. Her style evolved toward nuanced, psychologically rich portrayals, as seen in later appearances like The Senora in (1963) and replacements in long-running hits such as (1991) as Grandma Kurnitz. By the , she continued contributing to theater through roles like Old Margaret in The Father (1996), underscoring her enduring commitment to live performance and audience engagement. Dailey also gave back to the craft by teaching technique classes at the , managing multiple sessions weekly and mentoring emerging actors in the Method tradition she had mastered.

Television career

Irene Dailey began her television career in the late , appearing in that showcased her dramatic range in live and early taped formats. Her debut credits included the role of Millie Baker in the crime anthology in 1958, followed by Amy Gary in the episode "Four Sweet Corners" of in 1959. These appearances highlighted her ability to portray complex, often troubled women in urban settings, drawing on her background for authentic emotional depth. Dailey's transition to soap operas came in the late , where she excelled in serialized storytelling. She first gained notice in as Pamela Stewart on The Edge of Night from 1969 to 1970, playing a involved in dramatic intrigues typical of the genre's mystery elements. Her most enduring television role was as Liz Matthews on Another World, which she portrayed from 1974 to 1986, with returns from 1988 to 1994. Initially introduced as a meddlesome with manipulative tendencies, the character evolved into a central , influencing key storylines over decades and embodying the soap's themes of loyalty and interference. Throughout the 1960s, Dailey demonstrated versatility through guest spots on primetime anthology and drama series, often in live broadcasts that demanded precise timing. Notable appearances included Miss Frank in the Twilight Zone episode "Mute" in 1963, where she played a stern educator confronting supernatural elements, and roles in medical dramas like Dr. Kildare and Ben Casey. These performances underscored her adaptability across genres, from suspense to character-driven narratives, solidifying her reputation in the medium.

Film career

Irene Dailey's film career was notably sparse, with her feature film debut occurring relatively late in her professional life, in the late 1960s, after establishing herself as a prominent stage actress. Despite her Tony Award-winning performance in the 1964 Broadway production of , she was not cast in the 1968 , highlighting the challenges she faced in transitioning from theater to cinema, where her lack of Hollywood connections and preference for live performances limited opportunities. Her early screen work included minor supporting roles that showcased her versatility in character parts, often portraying eccentric or maternal figures in thrillers and dramas. In 1968, Dailey appeared in two films: Daring Game, a adventure drama where she played Mrs. Carlyle in a small capacity, and No Way to Treat a Lady, a directed by , in which she portrayed Mrs. Fitts, a quirky neighbor whose breakfast scene with the killer adds tension to the narrative. These roles marked her entry into film, emphasizing her skill in brief but impactful supporting performances amid ensemble casts led by stars like and . By 1970, she took on the role of Samia Glavia in Bob Rafelson's Five Easy Pieces, a seminal drama starring ; as the verbose, pseudo-mystical hitchhiker, Dailey delivered a memorable on life's absurdities, contributing to the film's of alienation despite her limited screen time. Dailey's most substantial film role came in 1971's The Grissom Gang, directed by , where she played Gladys "Ma" Grissom, the tyrannical matriarch of a Depression-era ; her portrayal of the ruthless, Bible-thumping leader, who meets a violent end in a police shootout, earned praise for its intensity and depth, allowing her to channel the commanding presence honed on stage. Later, in 1979's , she appeared as Aunt Helena, the devout relative who attempts an in the haunted house thriller, adding a layer of familial piety to the supernatural narrative opposite and . Her final film credit was in 1987's Stacking, playing Mrs. McGuire in a coming-of-age drama set during the . Throughout her cinematic output, Dailey's selective engagements reflected her prioritization of theater and television, where she found greater fulfillment and stability, though her film work demonstrated a adeptness at embodying complex, often domineering women in genre pieces.

Awards and recognition

Stage awards

Irene Dailey earned significant acclaim for her live theater work, particularly through prestigious awards that highlighted her versatility in both and regional productions. In 1966, she won the Vernon Rice-Drama Desk Award for her portrayal in the play Rooms at the , a recognition that underscored her ability to deliver intense, character-driven performances in experimental works exploring psychological themes. Her contributions to regional theater were further honored in 1971 with the from the Sarah Siddons Society of , presented for outstanding achievement in Chicago-area performances during the 1970-71 season. This accolade, named after the renowned 18th-century actress , celebrated Dailey's impact on the local stage scene, where she brought depth to roles in various productions.

Television awards

Irene Dailey's portrayal of the meddlesome family matriarch Liz Matthews on the soap opera Another World earned her notable acclaim in the television industry, particularly through prestigious awards that highlighted her depth as a character actress in daytime drama. In 1979, Dailey won the Daytime Emmy Award for Outstanding Lead Actress in a Drama Series for her work as Liz Matthews on Another World. This victory came after her nomination in the category, where she competed against fellow Another World cast members, recognizing her ability to bring emotional complexity to the role of a snobbish yet vulnerable aunt. The award marked a career milestone, affirming her transition from stage to television success in the 1970s. The Emmy win significantly bolstered Dailey's standing in daytime television, contributing to her extended run on Another World from 1974 to 1986 and again from 1988 to 1994, a total of over two decades that solidified her as a staple of the genre. Industry observers, such as TV Guide critic Michael Logan, praised her performance as a "flesh-and-blood character actress," noting how the accolade elevated her from supporting player to emblematic figure in soap opera storytelling. This recognition helped sustain her career longevity amid the competitive landscape of 1970s and 1980s daytime programming.

Personal life

Relationships

Irene Dailey maintained a close familial bond with her older brother, , the renowned actor and dancer, throughout their lives; the siblings shared a supportive relationship rooted in their mutual pursuit of careers, with Irene often following in Dan's footsteps from an early age. Dan, who achieved stardom in Hollywood musicals, publicly praised his sister's talent and resilience, noting in a interview that she was a "marvelous " who endured significant professional setbacks before her breakthrough. Their connection provided emotional backing amid the family's modest background, as both navigated the challenges of the entertainment industry while their parents expressed reservations about Irene's theatrical ambitions. Dailey never married and had no children, a personal choice she reflected upon candidly in a 1960 interview, stating at age 39: "I shall be 40 in September. I have nothing, really nothing. I'm not married. I have no children... All I really care about is the theater." This outlook underscored her dedication to her craft over traditional domestic life, a stance she upheld until her death. In her personal circle, Dailey formed meaningful friendships with fellow theater figures, including , with whom she developed a close rapport through their shared involvement in New York acting circles; , a prominent actress and , influenced Dailey's early development. These relationships offered Dailey companionship and insight outside her family ties, enriching her off-stage life amid a demanding career. Following the deaths of their parents—father Daniel James Dailey Sr. in 1959 and mother Helen Theresa Ryan Dailey in 1963—the Dailey siblings relied more heavily on each other for family support, as Irene and Dan were the only ones who remained in the entertainment field among their four siblings. This period strengthened their bond, with no other close relatives documented in her later personal accounts.

Views and affiliations

Irene Dailey was a longtime member of the Actors' Equity Association, the labor union representing stage actors and stage managers in the United States, as evidenced by her participation in Broadway productions governed by Equity contracts during the 1960s. She was also affiliated with the (now ), which covered her extensive television work, including her Emmy-winning role on Another World. In addition to her professional guilds, Dailey maintained a religious affiliation with the First Unitarian Universalist Church of Essex County in , where she was listed as a member beginning in January 1949. No public statements from Dailey on political matters, social issues, , or specific charitable causes related to have been documented in available records.

Later life and death

Teaching and retirement

In the 1950s, Irene Dailey began formal studies in acting technique with and at their New York studio, immersing herself in principles after years of professional performance experience. This training led to her becoming a faculty member at the (formerly the Berghof Studio), where she taught basic technique courses for a decade, handling up to twelve classes per week and instructing more than 200 students on foundational skills like character development and emotional authenticity. Building on her teaching experience, Dailey founded the School of Actors Co. in in 1961, serving as its director while continuing to emphasize practical, ensemble-based approaches to that drew from her mentors' philosophies. Her instructional work highlighted the interplay between rigorous technique and spontaneous creativity, mentoring emerging performers on sustaining long-term careers in theater. By the mid-1990s, following her departure from the role of Liz Matthews on Another World in 1994, Dailey gradually retired from major acting roles, making her final stage appearance in a 1996 production of The Father. She transitioned to a quieter life in Guerneville, , maintaining a reduced public profile while occasionally reflecting on her career through interviews and personal correspondence. This period marked a shift from performance and instruction to personal pursuits, allowing her to step back after decades in the industry.

Death

Irene Dailey died on September 24, 2008, at the age of 88, from colon cancer while at a healthcare facility in . Her illness had been kept private, with no public announcements prior to her passing. Following her death, obituaries appeared in major publications, including , which praised her as a "formidable actress" for her role in the 1964 Broadway production of and her long-running portrayal of Matthews on the Another World. The Television Academy also issued a tribute, highlighting her Daytime Emmy Award win in 1979 for her work on Another World and her enduring impact on . Peers and colleagues remembered her for her commanding stage presence and versatility across theater and screen. Dailey was cremated after her death, with her ashes given to family or friends; no public funeral or memorial services were reported.

Filmography

Films

Irene Dailey appeared in a limited number of feature films throughout her career, primarily in supporting roles. Her cinematic debut came in 1968 with two films. In Daring Game (1968), directed by Laslo Benedek, she portrayed Mrs. Carlyle alongside and . Later that year, in No Way to Treat a Lady (1968), directed by , Dailey played Mrs. Fitts, appearing with and . She followed this with the role of Samia Glavia in (1970), directed by , co-starring and . In 1971, Dailey took on the part of Gladys 'Ma' Grissom in The Grissom Gang, directed by , featuring and Scott Wilson. Her performance as Aunt Helena in (1979), directed by , included co-stars , , and .

Television

Irene Dailey began her television career with guest appearances on several anthology and drama series in the early 1960s. Her television debut was as Frances McHenry in the Bus Stop episode "The Vast Ocean of Our Loves" (1961). In 1962, she appeared as Amelia Carter in Sam Benedict's "Everybody's Playing Polo" and as Mrs. Prinzler in the episode "The Avenger" of The Defenders. In 1963, she appeared as Sara Anderson in the episode "A Trip to Niagara," as Miss Frank in the Twilight Zone episode "Mute," and as Agatha Miller in The Eleventh Hour episode "The Bride Wore Pink." In 1964, she guest-starred as Caroline Bullard in the Ben Casey episode "Heap Logs and Let the Blaze Laugh Out". In 1965, Dailey played Annie Cloyne in the The Doctors and the Nurses episode "Threshold." Dailey transitioned to soap operas in the late , taking on the role of Pamela Stewart on The Edge of Night from 1969 to 1970. She appeared as Mrs. Cummings in the 1972 television film Jigsaw. Her most prominent television role was as Liz Matthews on the daytime soap Another World, which she played from 1974 to 1986 and again from 1988 to 1994, appearing in 292 episodes; this performance earned her a Daytime Emmy Award for Outstanding Lead Actress in a Series in 1979. In 1987, she portrayed Mrs. McGuire in the presentation of Stacking.

Discography

Poetry and spoken word

Irene Dailey extended her renowned stage voice work into recordings, particularly through literary and poetic narrations that showcased her expressive delivery in capturing emotional and historical themes. These efforts, primarily with Records, highlighted her ability to interpret with dramatic intensity, often collaborating with fellow performers to bring contemporary and classic texts to life. One of her earliest releases was JFK: 30 Poems on the Death of a President, issued in 1964 by . In this compilation, Dailey, alongside Martin Donegan, narrated selections from 30 poets responding to the assassination of President , including works by and , emphasizing themes of grief and national loss through her measured, poignant readings. The album, compiled by Erwin A. Glikes and Paul Schwaber, ran approximately 41 minutes and served as an immediate audio tribute to the event. The following year, Dailey reprised her collaboration with Donegan on Of Poetry and Power: Poems Occasioned by the Presidency and by the Death of , a 1965 Folkways two-disc set featuring readings from 52 poets. Also compiled by Glikes and Schwaber, this expansive 77-minute collection covered Kennedy's inauguration and assassination, with Dailey voicing pieces by authors such as ("For John F. Kennedy, His Inauguration") and , blending solemnity and vitality in her performances. The recording underscored her versatility in handling diverse poetic styles, from to inspirational.

Other recordings

In addition to her spoken word poetry albums, Irene Dailey contributed to dramatic audio productions, most notably through her performance in the 1967 Smithsonian Folkways recording of The Wick and the Tallow by Henry Gilfond (catalog FW09529). This two-disc vinyl album features Dailey alongside actors John Aspinall, Nancy Howard, Shirley Leinwand, Beverly Shimmin, and Del Shorter, portraying characters in a verse play about a family dealing with their mother's return from a mental health facility, exploring themes of family dynamics, mental health, and tragedy through interconnected vignettes. The production, with minimal sound effects, emphasizes ensemble dialogue across tracks such as "Adam Should Be Here," "Candles and Dirges," "Who Was It Closed the Door?," and "The Noises Are All Made," spanning approximately 106 minutes. Originally issued in a boxed set format for 12-inch LPs, the recording has since been digitized and made available through ' online catalog, preserving Dailey's versatile vocal delivery in dramatic roles beyond her television and stage work. While no other commercial audio books, voiceovers, or extensive contributions by Dailey have been documented in archival sources, this Folkways release stands as a key example of her engagement with prose-based audio anthologies during the .

References

  1. https://www.nytimes.com/2008/10/07/theater/07dailey.html
  2. https://www.latimes.com/archives/la-xpm-2008-oct-11-me-dailey11-story.html
  3. https://playbill.com/article/irene-dailey-of-broadways-the-subject-was-roses-dead-at-88-com-154030
  4. https://www.theroosevelthotel.com/about/our-history/
  5. https://www.televisionacademy.com/features/news/actress-irene-dailey-dies-88
  6. https://time.com/archive/6807236/show-business-the-perils-of-irene/
  7. https://www.imdb.com/name/nm0197320/
  8. http://www.filmreference.com/film/36/Irene-Dailey.html
  9. https://archives.nypl.org/the/21834
  10. https://www.ibdb.com/broadway-production/the-subject-was-roses-3202
  11. https://www.broadwayworld.com/shows/Rooms-328270.html
  12. https://www.ibdb.com/broadway-production/lost-in-yonkers-4632
  13. https://www.themoviedb.org/person/179383-irene-dailey?language=en-US
  14. https://www.findagrave.com/memorial/30389198/irene-dailey
  15. https://marlenadelacroix.com/2008/10/irene-dailey-that-exquisite-pain-aunt-liz/
  16. https://www.imdb.com/title/tt0734595/
  17. https://www.imdb.com/title/tt0065724/
  18. https://www.imdb.com/title/tt0067162/
  19. https://www.imdb.com/title/tt0078767/
  20. https://www.ibdb.com/broadway-cast-staff/irene-dailey-37109
  21. https://playbill.com/person/irene-dailey-vault-0000054164
  22. http://sarahsiddonssociety.org/awardees
  23. https://www.goldderby.com/gallery/daytime-emmys-best-actress-winners/
  24. https://www.rogerebert.com/interviews/dan-daileys-long-journey-into-night-memories-of-a-song-and-dance-man
  25. https://www.findagrave.com/memorial/235494403/daniel-james-dailey
  26. https://www.findagrave.com/memorial/235494373/helen_theresa-ryan_dailey
  27. https://www.nytimes.com/1964/06/08/archives/negotiators-reach-tentative-pact-in-theater-strike.html
  28. https://essexuu.org/member_roll.html
  29. https://www.chicagotribune.com/2008/10/08/irene-dailey-1920-2008/
  30. https://www.imdb.com/title/tt0062862/
  31. https://www.imdb.com/title/tt0063356/
  32. https://www.imdb.com/title/tt0557238/
  33. https://www.tvguide.com/celebrities/irene-dailey/credits/3030212582/
  34. https://www.imdb.com/title/tt0067271/
  35. https://www.imdb.com/title/tt0094023/
  36. https://folkways.si.edu/jfk-30-poems-on-the-death-of-a-president/poetry/music/album/smithsonian
  37. https://folkways.si.edu/irene-dailey-and-martin-donegan/of-poetry-and-power-poems-occasioned-by-the-presidency-and-by-the-death-of-john-f-kennedy/american-history/album/smithsonian
  38. https://folkways.si.edu/irene-dailey-and-the-actors-company/the-wick-and-the-tallow-by-henry-gilfond/drama/album/smithsonian
  39. https://www.amazon.com/The-Noises-are-all-Made/dp/B000V905WS
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