Dorothy Brunton

Christine Dorothy Brunton (11 October 1890 – 5 June 1977), (some sources have "Christina") generally known as Dorothy Brunton or "Dot" was an Australian singer, dancer and actress prominent in musical comedy from 1915 to the mid-1930s. Her father, John Brunton (15 May 1849 – 22 July 1909), was a scenic painter in Scottish theatres before working in Australia with J. C. Williamson, George Coppin and Bland Holt. Her mother English-born Cecily Christina (née Neilsen) was an actress. Dorothy was born shortly after their arrival in Australia.She was educated at Presbyterian Ladies' College in Burwood, Victoria. and at Alford House, Sydney.Her stage advancement was the stuff of Hollywood cliche: travelling around Australia and New Zealand with her father touring with the 1908 production The White Heather in his job as scene painter for Bland Holt, her singing talents being recognised by Grace Miller Ward, wife of Hugh J. Ward and developed towards musical theatre; picking up dancing skills as one of the first pupils of dance teacher, Jennie Brenan, acting as understudy and triumphantly filling the role when the star becomes ill, even taking parts she hadn't studied.Her first major engagement So Long Letty (1915–16) was with J. C. Williamson ("The Firm") to whom she stayed remarkably loyal. Other roles around this time were in High Jinks, Tonight's the Night, Canary Cottage, The Girl in the Taxi, Nellie Kelly and The Rise of Rosie O'Reilly. In 1916 she appeared in a movie Seven Keys to Baldpate for J. C. Williamson Films.She left for America in 1917, where she played in Follow the Girl then London (to the delight of Australian troops on leave), where she made a successful appearance in Shanghai at Drury Lane.She returned to Australia in 1920, playing in Yes Uncle! and Baby Bunting. She played for Hugh J. Ward 1924 and 1925, then The Climax for Hugh D. McIntosh in 1927, which "bombed" in London. Her "leading man" was frequently Guy Bates Post.