Marguerite McNamara (June 18, 1928 – February 18, 1978) was an American stage, film, and television actress and model from the United States.

She first came to public attention as Patty O'Neill in the 1951 national tour of F. Hugh Herbert's The Moon Is Blue which ran concurrently with the original Broadway production.

[6] As a teenager, McNamara was discovered when modeling agent John Robert Powers saw photos of her taken at a friend's home.

With her mother's encouragement, McNamara signed with his agency and, while still in high school, began working as a teen model.

She was one of the most successful teen models of the time and appeared in Seventeen, Life, Harper's Bazaar and Vogue.

Your grooming, posture, the sound of your voice, and your perfume play a part in the total picture you create.

[5][7] McNamara made her professional stage debut on January 29, 1951, at the McCarter Theatre in Princeton, New Jersey as Una Brehony in the United States premiere of Michael J. Molloy's comedy The King of Friday's Men.

[10][11] McNamara next portrayed Alice in George S. Kaufman and Moss Hart's You Can't Take It with You at the Lenox Hill Playhouse in late March and April 1951.

[12] Soon after, she appeared as Patty O'Neill in the national touring production of The Moon Is Blue which began its run in Detroit on April 20, 1951, under the direction of Otto Preminger.

[13] Written by F. Hugh Herbert, the play was already a Broadway hit starring Barbara Bel Geddes as Patty O'Neill under Preminger's direction.

The following year, she co-starred opposite Richard Burton in the biographical film Prince of Players.

She also reportedly refused to do publicity for her films or pose for the cheesecake shots that studios generally expected their female stars to do.

[21] Later that year, she performed in a production of Neil Simon's Come Blow Your Horn with Darren McGavin at the Royal Poinciana Playhouse in Florida.

[22] McNamara's last onscreen appearance was in the July 1964 episode of The Alfred Hitchcock Hour entitled "Body in the Barn", opposite Lillian Gish.

[5] Her obituary noted she had been writing scripts, including one titled The Mighty Dandelion, which had been purchased by a production company at the time of her death.