performance

Theatre Royal, Brisbane From 1949 to 1959 at Brisbane’s Theatre Royal, comedian George Wallace Junior hosted a weekly variety show with a weekly change of title, such as Grin and Bare It (1951), Nudes and Blushes (1952), New Year Nudes (1953), Eves without Leaves (1953), Couldn’t Wear Less (1953), Teasy on the Eyes (1954), Peep Show (1956), Watch the Curves (1957), Don’t Give Up the Strip (1957), Hips Hooray (1958), Bareway to the Stars (1958) and Don’t Point, It’s Nude (1959). Source: jonathanbollen.net/2011/04/03/theatre-royal-brisbane/

Vassily Grigorievich Voskresensky (16 September 1888 – 27 July 1951), usually referred to as Colonel Wassily de Basil, was a Russian ballet impresario. By 1923 Wassily was doing well enough to hire Olga Smimova and Nikolay Tripolitov as his principal dancers on small tours in France, Germany, Switzerland and Austria. It was at this point he adopted a "stage name" Wassily de Basil (essentially Basil de Basil) in 1923 and gave the name of his troupe as Ballet Russe directed by W. de Basil.[3] Around 1925, de Basil partnered with Alexey Tsereteli (also Zereteli) and Ignaty Zon to form the artist's agency called Zerbason.[4] In 1929–1930 de Basil's ballet troupe acted together with Tsereteli's opera troupe.[5] De Basil, Tseretelli, and Michel Kachouk, the manager of Feodor Chaliapin, became directors of the Opéra Russe à Paris, a company originally formed by soprano Maria Kousnetsova (also Maria Kuznetsova).[4] De Basil and René Blum, ballet director at the Monte Carlo Opera, along with financier Serge Denham, founded the Ballets Russes de Monte-Carlo in 1931.[6] The ballet gave its first performance in Monte Carlo on January 11, 1932- the national holiday of Monte Carlo. Blum and de Basil did not agree artistically, leading to a 1934 split,[7] after which de Basil formed an arrangement with financier Sol Hurok.[7] Col. de Basil initially renamed the company Ballets Russes de Colonel W. de Basil. De Basil brought the Original Ballet Russe on a tour of Australia in 1939–1940,[6] traveling there aboard the P&O ocean liner RMS Maloja in September 1938. He had earlier organized tours to Australia in 1936–1937 and 1938–1939, although he did not travel with the company. During his visit to Australia, de Basil commissioned work from Australians, especially from designers, who included Sidney Nolan and Kathleen, and Florence Martin. He also instigated a design competition for an original Australian ballet, which was won by Donald Friend with designs for a ballet based on a fictitious event in the life of Ned Kelly. Source; en.wikipedia.org/wiki/Wassily_de_Basil

REX THEATRE (Fortitude Valley) aka Town Theatre / Hoyts Rex / Rex Valley (1936-ca. 1974) Wickham Street (between Gipps and Brunswick streets). Although best remembered as a cinema, the Rex Theatre’s first lessee, Graham Mitchell, operated it as a vaudeville house for some 14 months. The building, situated on the northern side of Wickham Street, dated back to the late 1900s when it served as a warehouse. At the time of its purchase by E. Craft and A.J. Carter (Crafti’s Investments Pty Ltd), it was owned by Foy and Gibson. The basement was remodeled into a theatre, with the remainder of the building converted into three shops. The Rex was used for occasional live productions up until its closure. Sinbad the Sailor (featuring Peggy Ryan) was produced there in 1950, for example. Graham Mitchell’s Jesters opened the Rex on 9 May 1936. The feature artists were Nat Hanley, Syd Beck, and Len Rich. Source: ozvta.com/theatres-qld/2/ __________

Peggy Ryan worked hard for a living. She danced, she sang, she took her clothes off when required. She worked on stage and under canvas, entered competitions, opened dance schools, and directed. She helped out her father, an illusionist and character actor, and she was as versatile as all get out. And she was not, as one magazine put it rather brutally, A Star. In a human interest story in People in 1952, 26-year-old Peggy was described like this: “She is not a star; she never could be. Her stocks in trade are a warm, sometimes strident, voice, a pair of nimble feet, a stimulating smile, and a figure of considerable merit. Yet without her, and other backstagers like her, entertainment as we know it would collapse overnight. She is the indisputable unit of which a show is made, the foil, the prop, the silk-and-tinsel background against which the star gleams his brightest.” Source: www.slq.qld.gov.au/blog/hoofer-soubrette-and-nudie-cutie-...