Word: gilda
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Dates: during 1930-1939
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...situation with which Design For Living concerns itself is somewhat unusual for light comedy-polyandry. Act I, laid in Paris, finds Actress Fontanne as Gilda (pronounced Jilda), an interior decorator vaguely troubled by the uncertainties of life. There are times when she wishes she could believe in "God and the Daily Mail and Mother India." Physiological studies do not wholly satisfy her. ("If you knew what was going on inside you, you would probably be bitterly offended.") In her quandary she is about to switch her allegiance from Otto (Mr. Lunt), a painter, to his good friend, playwriting...
...discovers Leo and Gilda comfortably sinning in an attractive London flat. Both, however, pine for their absent crony Otto. Gilda, it appears, is not so happy as she might be with Leo's theatrical success. While he is away at a houseparty, up bobs Otto, fresh from a voyage on a tramp steamer. "The circle has turned," says he, "and it's my turn now." But next morning Gilda leaves notes for both her lovers, goes off to Manhattan to marry an art broker and find, she hopes, peace. When Leo and Otto meet and read their letters...
...Died. Gilda Ruta Cagnazzi, 79, one of history's few able female composers; in total obscurity, of a cerebral hemorrhage; in Manhattan. A mother of two & widowed at 27, she turned to composing, wrote more than 125 compositions for piano & orchestra, played before Italy's Queen Margherita at Rome's Costanzi, won a gold medal at the International Exposition in Florence, ended her career giving piano lessons in Manhattan's Greenwich Village...
...Names make news." Last week the following names made the following news: In Evanston, Ill., dancer Mariana Michalska (Gilda Gray) was enlisted to boost ticket sales for Northwestern Uni- versity's senior ball. A band played. Dancer Gray pranced. Northwesterners bought three tickets, suggested she take off her coat. She fled...
People everywhere have heard Nellie Melba sing "Home Sweet Home," "Comin' Thro' the Rye," Tosti's "Goodbye." Opera crowds have seen her as Mimi in La Bohème, Violetta in La Traviata, Marguerite in Faust, Gilda in Rigoletto, Lucia, Juliette. The pure and springlike quality of her voice established her as Patti's greatest successor. It lasted her well through middle age because she used it so intelligently, won her triumphs for 40 years. Melba's life was as glamorous as the prima donna of fiction. She made her American debut at the Metropolitan in 1893 five days after famed...