microphone

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

Gloria Dawn Evans was born in Port Melbourne on 26 February 1929. In 1939 she toured with other talented youngsters in the Tivoli Gang. In 1941, when she was 12, her mother launched her at the Tivoli as an adult soubrette. In 1949 Dawn made her musical comedy debut in Little Nellie Kelly and Sunny for Will Mahoney at the Cremorne. In 1959 Garnet H. Carroll gave Gloria Dawn the coveted Carol Burnett role in his production of the musical Once Upon a Mattress at the Princess in Melbourne. The ‘unactressy’ actress ‘Gloria Dawn was brought up in variety as part of the razzamatazz of the Tivoli era,’ wrote Katharine Brisbane, ‘and in her later years, she brought that same vitality, roughness, and single-minded professionalism to the legitimate theatre – sometimes to its consternation. She was in the business because she was born to it and knew nothing else.’ For more very interesting info about this beautiful women check the website: liveperformance.com.au/hof-profile/gloria-dawn-1929-1978/

In the mountain village where the waters of the River Styx flow, the young Golfo and Tassos swear eternal love to one another. True to her word, Golfo rejects a nobleman who wishes to marry her, but Tassos breaks his oath and agrees to wed a rich young woman instead. When he changes his mind, it is too late and the forces of destiny continue to their inevitable conclusion. Linked with the historical tradition of travelling theatre troupes, Golfo is almost synonymous with this aspect of Greek theatre. However, despite its unusual language and localised character, Peresiadiss play is charged with emotion and technically is every bit as proficient as dramas from better-known names. Romantic rivalries, moral dilemmas and heartrending choices run through this important example of Greek theatrical heritage. Nikos Karathanos and his cast and crew approach Golfo with sensitivity and reveal it to be a genuine theatrical gem. Source: www.n-t.gr/en/events/oldevents/golfw_

Golfo is a 1914 Greek silent film directed by Konstadinos Bahatoris. It is the first Greek feature film. It was based on a popular Greek bucolic play written by Spyridon Peresiadis. Plot Tasos is a young shepherd in love with Golfo and intends to marry her. However, the rich shepherdess Stavroula with the help of her father manages to lure him with the promise of a dowry. Eventually he realises his mistake and returns to Golfo, but she has poisoned herself. Driven by guilt, Tasos commits suicide. Source: en.wikipedia.org/wiki/Golfo