Remember This Legend?! Dona Drake’s Hidden Past FINALLY Revealed!! | HO!!!!

HOLLYWOOD, CA — For decades, Dona Drake was celebrated as a dazzling star of Hollywood’s golden age, remembered for her unforgettable roles and magnetic stage presence. But behind the glitz and glamour, her true story was shrouded in secrecy and deception.

Only now, years after her passing, is the world finally learning the truth about the woman who captivated audiences as Mihma in Road to Morocco and charmed the likes of Bob Hope and Dorothy Lamour. This is the dramatic tale of Dona Drake—a story of ambition, survival, and a hidden identity that challenged the boundaries of race and fame in mid-century America.

Early Life: A Star Born in the Shadows

Dona Drake’s journey began far from the Hollywood spotlight. Born Ununice West Morland on November 15, 1914, in Miami, Florida, she was one of five children in a family struggling to find opportunity in an era marked by harsh racial segregation.

Her father, Joseph Andrew West Morland, Sr., and mother, Novella Smith, were African American, though records over the years would variously list the family as “mulatto,” “negro,” and, later, “white.” From a young age, Ununice showed a remarkable talent for music and performance—a gift her family hoped would open doors in a world that often seemed determined to keep them closed.

Seeking better prospects, the Morlands moved from Jacksonville, Florida, to Philadelphia, and eventually to New York City. There, Ununice’s mother recognized her daughter’s potential and encouraged her to pursue a career in entertainment. With her light skin and striking features, Ununice could pass as white or Latina—a fact that would soon become central to her survival and success.

Rising Through the Ranks: From Una Von to Rita Rio

Ununice’s early years in show business were marked by reinvention. She first performed under the name Una Von, dazzling audiences as a chorus girl and nightclub entertainer. By 1932, her talents had caught the eye of famed producer Earl Carroll, who cast her in his musical Murder at the Vanities.

Unlike many performers, Drake was not only a skilled singer and dancer but also played several instruments, including piano and saxophone. Critics praised her musicality and stage presence, noting that her movements were as precise as the conductor’s baton.

As her reputation grew, Ununice adopted new stage names—Rita Shaw, Rita Rio, and, eventually, Dona Drake. Her versatility made her a favorite in the nightclub scene, where she performed not just as a dancer and singer but also as a bandleader, forming an all-female orchestra in 1936. Financial setbacks eventually led to the group’s dissolution in 1940, but Drake’s ambition remained undimmed.

Hollywood Calls: Reinventing Herself as Dona Drake

Drake’s big break came thanks to her friend Dorothy Lamour, who recommended her for a role in Aloma of the South Seas. Paramount Pictures quickly recognized her star potential and rebranded her as Dona Drake, crafting a glamorous, Latin-inspired persona. Studio publicity claimed she was born “Rita Nolla” in Mexico City to restaurant-owning parents—a fabricated backstory designed to make her more marketable and to skirt the era’s racial barriers.

The strategy worked. Aloma of the South Seas became a hit, earning two Academy Award nominations and propelling Drake into the

Hollywood spotlight. She soon landed roles in Louisiana Purchase and the iconic Road to Morocco, where she starred alongside Bob Hope and Bing Crosby. Her on-screen kiss with Hope was a historic moment—the first interracial kiss in a mainstream American film, though the public believed Drake was Latina playing an Arab woman, not a black woman passing for something else.

Despite her success, Drake grew frustrated with Hollywood’s limitations. She was often cast in supporting roles, chasing after Hope or combing Lamour’s hair, and longed for more substantial parts. As she explained, “You can’t build a screen career just by combing Lamour’s hair or chasing Bob Hope in one picture after another.”

Navigating Hollywood’s Racial Minefield

Throughout her career, Dona Drake was cast in a variety of “exotic” roles—Latina, Middle Eastern, Native American, and even a gypsy. Her ability to convincingly play these parts was rooted in her carefully maintained deception. Drake worked tirelessly to perfect her Spanish and cultivate a Latin image, knowing that any slip could end her career.

The stakes were high. In the 1930s and 1940s, Hollywood was notoriously hostile to black performers, and opportunities for African Americans were severely limited. Drake’s decision to “pass” as Latina was both a survival strategy and a brutal necessity—a choice that would haunt her for the rest of her life.

Personal Life: Love, Danger, and Deception

Drake’s life offstage was as dramatic as her career. In the nightclub world, she became involved with Lewis “Pretty” Amberg, a notorious Russian gangster. Their romance was passionate and dangerous, marked by extravagant gifts and constant attention. Amberg’s violent reputation was legendary—he once threatened comedian Milton Berle with a fork.

When Drake left for Hollywood to film Strike Me Pink, she parted ways with Amberg, not realizing it would be the last time she saw him. In 1936, the FBI questioned her about Amberg’s murder; his body was found naked and bound in a burned-out car. Drake maintained she knew him only as “Mr. Cohen, a perfect gentleman,” and claimed ignorance of his criminal activities.

Marriage, Family, and More Secrets
Drake’s personal life took another dramatic turn when she met costume designer Billy Travilla on the set of Hot Rhythm. After just ten days, they married in a private ceremony on August 19, 1944. Interracial marriage was illegal at the time, forcing Drake to maintain her deception even within her own family. It’s possible that even Travilla didn’t know her true racial background.

Travilla’s career soared—he won an Academy Award for Adventures of Don Juan and became Marilyn Monroe’s favorite designer, creating iconic looks for Gentlemen Prefer Blondes and The Seven Year Itch. Meanwhile, Drake’s career faded. The couple’s home life was complicated by Travilla’s hobby of collecting nearly 100 birds, adding strain to their relationship.

After ten years, Drake and Travilla separated, but remained legally married for the sake of their daughter, Nia. In 1960, Travilla appeared on Groucho Marx’s You Bet Your Life, showcasing a lavish gold dress worn by Drake. Her discomfort during the segment was palpable—a stark contrast to the confident persona she had cultivated.