David Street, a singer blessed with striking looks and a resonant baritone, seemed destined for silver screen stardom in the 1940s. However, despite possessing the key ingredients for success in musical films, his career trajectory took an unexpected turn. Today, David Street is often remembered, if at all, more for his much-publicized personal life than for his cinematic contributions.
Born Patrick Devlin in Los Angeles on December 13, 1917, David Street’s musical journey began in high school. He honed his vocal skills in local trio performances, which soon led to opportunities at a nearby radio station. Early in his career, Street gained valuable experience singing with various harmony swing groups, including ensembles like “Six Hits and a Miss,” “The Rhythm Rascals,” and “The Melo-Aires.” These early gigs paved the way for touring as a featured vocalist with prominent bands and orchestras led by established figures such as Bob Crosby and Freddie Slack. These experiences helped to solidify David Street’s reputation as a talented vocalist and performer.
His burgeoning musical talent caught the attention of Universal Pictures, who signed David Street to a studio contract. Initially, his film roles were limited to minor singing parts. He was subsequently loaned to Republic Pictures for Moonlight Masquerade (1942), where he, alongside Anne Jeffreys, formed part of a vocal trio. Brief appearances followed in Honeymoon Lodge (1943) and as a student in We’ve Never Been Licked (1943), each contributing incrementally to his early filmography but not yet providing a breakout role for David Street.
The momentum David Street was building was abruptly halted by World War II. Drafted into the Army, his burgeoning career was put on hold while he served his country. Following his military discharge, David Street worked to recapture the public’s attention, securing recording opportunities with RCA Records and returning to radio broadcasting. 20th Century-Fox recognized his potential and signed him to a contract, but the studio already had rising stars like Dick Haymes and Perry Como in their roster. David Street found himself relegated to specialized roles or, more frequently, providing vocal dubbing for other actors. Notably, he dubbed William Eythe’s singing voice in Centennial Summer (1946). This period, while keeping him working, did little to elevate David Street to leading man status.
Republic Studios offered David Street a significant opportunity, casting him in his first co-lead role in the musical fantasy An Angel Comes to Brooklyn (1945). This film placed him in a romantic triangle with relatively unknown actresses Kaye Dowd and Robert Duke, marking a pivotal moment in his film career. However, this role, while a step up, did not catapult him to major stardom. He continued to lend his vocal talents, dubbing William Marshall in Calendar Girl (1947), and took a minor acting role in the film noir Erbe des Henkers (1948), again for Republic. Columbia Pictures provided another lead role, albeit an insignificant one, opposite Gloria Jean in the musical romance I Surrender Dear (1948). In this film, David Street showcased his vocal abilities with performances of “There’s Nobody Else but Elsie” and an excerpt from “Pennies from Heaven.” Despite his undeniable vocal talent and handsome appearance, David Street’s on-screen presence was sometimes described as stiff, hindering his advancement in film. He also hosted several musical programs, including “The David Street Song Shop” (1946), “David Street Sings” (1946), and “The David Street Show” (1947), but these ventures garnered limited attention.
Television emerged as a more promising medium for David Street in the 1950s. He made guest appearances on popular shows such as “The Ken Murray Show,” “The Colgate Comedy Hour,” and “The Art Linkletter Show,” and secured a regular spot on Broadway Open House (1950). Further solidifying his presence in the emerging medium, David Street hosted his own local TV program, “The David Street Show,” on KLAC-TV in Los Angeles.
However, David Street’s recording career began to decline after he lost his RCA contract. He signed with smaller labels like Diamond, Rainbow, and Keynote, but these associations did not revive his music career to its former heights. Alongside performing, David Street also explored songwriting. One of his co-written songs, “Gotta Soft Spot,” was featured in the film Square Dance Jubilee (1949). His final film appearance, arguably his most significant cinematic showcase, was as the co-star in the low-budget Lippert Productions musical Holiday Rhythm (1950). In this film, he starred opposite Mary Beth Hughes, who was at the time one of David Street’s wives. Holiday Rhythm offered David Street opportunities for duets with Hughes and a solo performance of “Lost in a Dream.” After this point, David Street primarily focused on television work for on-screen opportunities.
Throughout the early 1950s, David Street maintained a presence on television, frequently appearing on local series, including a regular spot on KLAC’s “Hollywood on Television” (1953). He also hosted “Tin Pan Alley” (1953) on the same Los Angeles station. As his career momentum waned, David Street reportedly struggled with alcohol.
In his later years, David Street sought income as a church choir director and occasionally performed in nightclubs. A guest role in a 1955 episode of “The Adventures of Will Hickok” offered a brief respite but did not reverse his career decline. A series of unfortunate accidents, including incidents involving an elevator and a car, further hampered his prospects. Later in his career, David Street hosted a local game show called “Greet the People,” continued to sing at clubs, weddings, and bar mitzvahs, and appeared in occasional commercials. He also established David Street-Scott Allen Music, a company providing band leaders for parties. His final film appearance was a brief cameo alongside Ann-Margret in a song segment, “Isn’t It Kinda Fun,” in the remake Texas-Show (1962).
David Street’s private life frequently became fodder for tabloid headlines. He was often seen escorting prominent Hollywood actresses such as Ava Gardner, Diana Lynn, Marguerite Chapman, Cleo Moore, Jane Nigh, and Marilyn Maxwell. His personal life was further complicated by a series of marriages – six in total. His first marriage in 1942 was to Mary Frances Wilhite, who was not in show business. This union produced a son, David, but ended within a few years. His second marriage to actress Lois Andrews was short-lived, ending in annulment after just months. In 1948, he married actress and singer Mary Beth Hughes. Their marriage lasted nearly eight years, during which they appeared together on television, in films, and in nightclub acts. Actress Sharon Lee became his fourth wife in 1957, but this marriage lasted only 26 days. His most publicized marriage was to the renowned actress Debra Paget, who was marrying for the first time. This marriage lasted four months before it was annulled. His sixth marriage, in 1958, was to singer Elaine Perry. This union proved more enduring, lasting until his death and producing a daughter, Melanie, in 1968.
Toward the end of his life, David Street was diagnosed with cancer. He died from complications of the disease on September 3, 1971, at the age of 53. While David Street may not have achieved the level of film stardom that once seemed within reach, his career reflects the complexities and vagaries of Hollywood success, and his personal life provided ample material for the gossip columns of his time.
