entertained at Keith and Proctor's Fifth Avenue Theater. In 1914 Pollard was the petite star of The Girl Behind the Counter at the Morosco Theatre on Broadway (Manhattan). The production also featured actor Al Shean. She followed this success with performances in A Knight for a Day (1915) and The Passing Show of 1915. The latter play was staged at The Mason Theater in Los Angeles and also featured Marilyn Miller. In 1917, Pollard was in London, where she appeared with English comedian/singer George Robey, playing the role of "She of the Tireless Tongue" in Albert de Courville, Dave Stamper and Gene Buck's lavishly-staged revue Zig-Zag!, which ran for 648 performances at the Hippodrome. She remained with the show when it moved to the Folies Bergère in Paris at the end of the year. She appeared in other successful productions at the Hippodrome, including Box o' Tricks (1918), Joy Bells (1919) and Jig-Saw! (1920). She returned to New York and performed in The Greenwich Village Follies in 1923–24. Hollywood screen comedian After a long career on stage and aged in her late thirties, Mack Sennett signed her with great fanfare in June 1927, describing her as an "internationally famous musical comedy and vaudeville star." She was cast in several "Sennett Girl Comedies," two-reel productions designed to show off the beauty of Sennett's latest actresses. Other actresses featured in the girl comedy shorts were Carole Lombard, Anita Barnes, and Kathryn Stanley. Her first title was The Girl from Everywhere, with Pollard receiving title billing. Some of these films included short, two-strip technicolor sequences. In these first movies for Sennett, Pollard demonstrated her talents as a comedian and dancer. Lombard and Pollard became close friends during the time they were working for Sennett. Lombard reportedly said "Daphne Pollard and I were just in hysterics the whole time. We used to pull the worst gags on...some of the boys." Pollard went on to work for Vitaphone, RKO Pictures and Universal Pictures. She memorably appeared in several Laurel and Hardy films of the mid-1930s, as a shrewish wife of Oliver Hardy in Thicker than Water (1935) and Our Relations (1936) and also as a maid in Bonnie Scotland (1935), achieving almost 60 screen credits in the seven years between 1928 and 1935. She continued to appear in occasional supporting roles into the early 1940s, again appearing briefly with Laurel and Hardy in The Dancing