dancers

John Tiller was a choreographer/teacher/director who originated precision dance in geometric patterns. Think Rockettes. He had schools in NY and the UK and troupes all over. There were Tiller troupes in multiple broadway shows such as the Ziegfeld Follies simultaneously. He himself arrived in NY in August 1925 for the opening (in September) of Sunny These women may be the Marilyn Cocktails who were billed as recent honor graduates of the London Tiller School and appearing in Sunny with Marilyn Miller. Or they may be from the group in the Ziegfeld Follies of that year who performed a number "dressed as emigrants" on a stage set representing an ocean liner. Or both. Or others. Or neither. Over the years, it's claimed that there were more than 25,000 Tiller Girls. Sunny ran for over a year - 517 performances. Tiller, though, died in New York just few weeks after it opened at age 71.

Tiller Girls www.wikidata.org/wiki/Q2433515

A newer take on 'The Three Graces' - wonderful picture.

Silver Nitrate negative aged into an ethereal image. 74mb tiff file at the link above.

Moncrieff made highly successful gramophone recordings in Australia for the Columbia Graphophone Co. between 12 October 1928 and 4 June 1935. She was a regular visitor to the company studios at Homebush, Sydney, making eighty-four titles that were released on either Regal, Regal-Zonophone or Columbia labels as ten-inch discs. These well-known musical comedy favorites sold far better than similar material by many famous overseas artists. Most of these recordings were reissued by EMI Records Australia and enjoyed healthy sales. Gladys Moncrieff had a powerful, wide-ranging, rich soprano voice, and excellent diction. Undemonstrative in behavior, she approached her singing like a craft, meticulously and unostentatiously. She dressed simply and did not shun menial tasks. Her large, informal parties were memorable for her superb cooking, especially for her pie with seventy dozen oysters. Perhaps it was also her sense of fun and tender-heartedness that attracted her large following of 'gallery girls', women who queued for standing room and followed her movements with flowers and mail. She became a legend in Australia in her lifetime, respected by her professional colleagues, and loved by her devoted public. Her autobiography, My Life of Song (Adelaide, 1971), was ghosted by Lillian Palmer. Source: adb.anu.edu.au/biography/moncrieff-gladys-lillian-7621