Mary Wickes (born Mary Isabella Wickenhauser; June 13, 1910 – October 22, 1995) was an American actress. She often played supporting roles as prim, professional women, secretaries, nurses, nuns, therapists, teachers and housekeepers, who made sarcastic quips when the leading characters fell short of her high standards. Early life Wickes was born to Frank Wickenhauser and his wife Mary Isabella (née Shannon) in St. Louis, Missouri of German, Scottish, and Irish extraction, and raised Protestant. Her parents were theater buffs, and took her to plays from the time that she could stay awake through a matinee. An excellent student, she skipped two grades and graduated at 16 from Beaumont High School. She was accepted into Washington University in St. Louis, where she joined the debate team and the Phi Mu sorority, and was initiated into Mortar Board in 1929. She graduated in 1930 with a double major in English literature and political science. Although she had planned a career in law, a favorite professor encouraged her to try drama, and she shifted direction. Career Wickes's first Broadway appearance was in Marc Connelly's The Farmer Takes a Wife in 1934 with Henry Fonda. She began acting in films in the late 1930s and was a member of the Orson Welles troupe on his radio drama The Mercury Theatre on the Air; she also appeared in Welles's film Too Much Johnson (1938). One of her earlier significant film appearances was in The Man Who Came to Dinner (1942), reprising her stage role of Nurse Preen. A tall () woman with a distinctive voice, Wickes would ultimately prove to be an adept comedienne. She attracted attention in Now, Voyager (1942) as the wisecracking nurse who helped Bette Davis's character during her mother's illness. She had already appeared earlier that year with Davis in The Man Who Came To Dinner, and joined her again six years later in June Bride. (Wickes and Davis also reteamed in 1965 when Wickes played a supporting role to Davis in a television pilot, The Decorator.) In 1942, she also had a large part in the Abbott and Costello comedy Who Done It? She continued playing supporting roles in films during the next decade, usually playing wisecracking characters. A prime example was her deadpan characterization of the harassed housekeeper in the Doris Day vehicles On Moonlight Bay and By the Light of the Silvery Moon, a character type she