Coral Browne (23 July 1913 – 29 May 1991) was an Australian-American stage and screen actress.

Career[link]

Coral Edith Brown was the only daughter of a restaurant owner. She and her two brothers were raised in Footscray, a suburb of Melbourne, where she studied at the National Gallery Art School. Her amateur debut was as Gloria in Shaw's You Never Can Tell, directed by Frank Clewlow. Gregan McMahon snapped her up for her professional debut as "Margaret Orme" in Loyalties at Melbourne's Comedy Theatre on 2 May 1931 (she was still billed as "Brown", the "e" being added in 1936), aged 17.^[1]

At the age of 21, with just £50 and an introduction to famed actress Marie Tempest from Gregan McMahon,^[2] she emigrated to England where she became established as a stage actress, notably as leading lady to Jack Buchanan in Frederick Lonsdale's The Last of Mrs Cheyney, W Somerset Maugham's Lady Frederick^[2] and Alan Melville's Castle in the Air. She was a regular performer in productions at The Savoy Theatre and was resident in the hotel for many years, including throughout World War II. When the original British touring production of The Man Who Came To Dinner ran into financial difficulty and could not be produced in London, Browne borrowed money from her dentist and bought the rights to the play, successfully staging it at The Savoy Theatre in London.^[3] She received royalties from the play from all future productions. She began film acting in 1936, with her more famous roles being Vera Charles in Auntie Mame (1958), Mercy Croft in The Killing of Sister George (1968), and Lady Claire Gurney in The Ruling Class (1972).

In 1969, Browne appeared in the poorly received original production of Joe Orton's controversial farce What the Butler Saw in the West End at the Queen's Theatre with Sir Ralph Richardson, Stanley Baxter, and Hayward Morse.

While touring the Soviet Union in a Shakespeare Memorial Theatre (later the Royal Shakespeare Company) production of Hamlet in 1958, she met spy Guy Burgess.^[4] This meeting became the basis of Alan Bennett's script for the television movie An Englishman Abroad (1983) in which Browne played herself, apparently including some of her conversations with Burgess. Burgess who had found solace in his exile by continually playing the music of Jack Buchanan, asked Browne if she had known him. "I suppose so", the actress replied, "we nearly got married". Her other notable film of this period, Dreamchild (1986) concerned the author Lewis Carroll. In the film, Browne gave an affecting account of the later life of Alice Liddell who had inspired the tale Alice in Wonderland.

Personal life[link]

Browne married actor Philip Pearman in 1950 and remained married to him until his death in 1964.^[5] While making the film, Theatre of Blood (1973), she met actor Vincent Price; they married on 24 October 1974. They appeared together in the short-lived 1979 CBS TV series, Time Express.

She became a naturalized United States citizen in 1987 as a gift to Price who later converted to Catholicism for her (she had converted many years previously).

Browne died on 29 May 1991 in Los Angeles, California, from breast cancer; she was 77. She had no children from her marriages.

Awards[link]

Browne was awarded the BAFTA Television Award for Best Actress in 1984 for her role in An Englishman Abroad. She later received the London Evening Standard's British Film Award for Best Actress in 1986 for Dreamchild. In 1976, the Los Angeles Theatre Critics named her Best Actress for her role in Travesties, at the Mark Taper Forum, Los Angeles.

Personality[link]

Browne's outrageous razor wit was renowned, and endless anecdotes of her circulated in theatrical circles. At the first night of Peter Brook's production of Oedipus during which a giant golden phallus was unveiled onstage, Browne turned to her companion Val Gielgud in the stalls and said loudly: "Well, it's nobody we know, darling."

Theatre critic Ned Sherrin was once asked to meet a young friend of his parents who was visiting London from South Africa and took him to a restaurant. Browne was at a nearby table. As she left she greeted Ned and then, looking at the very good-looking young man, said "Had the trip wires out at Euston [station] again have we darling?"

When told by the Royal Shakespeare Company that there was no suitable role in their upcoming production of King Lear for her husband, Philip Pearman, she demanded a script and running through it she found the page she was looking for. "There you are", she said, "the perfect part. A small camp near Dover."^[6]

Browne's language was colourful, and an unauthorized biography of her, This Effing Lady, was published. She was a devout Catholic (by conversion). The two aspects came together in a story of her standing outside Brompton Oratory after Sunday mass when an actor came up to her with gossip about who was sleeping with someone else's wife. She stopped him in his tracks with: "I don't want to hear this filth. Not with me standing here in a state of fucking grace." Fellow Australian performer Barry Humphries paid tribute to Browne at her memorial service with an appropriate poem: "She left behind an emptiness/A gap, a void, a trough/The world is quite a good deal less/Since Coral Browne fucked off."^[7]

Tributes[link]

• Browne was the subject of a biography, The Coral Browne Story: Theatrical Life and Times of a Lustrous Australian, by Barbara Angell.^[8] This was published May 2007 and launched at the Victorian Arts Centre, Melbourne, on 14 June of that year.

• Coral Browne: 'This Effing Lady', by Rose Collis, published by Oberon Books, was launched at the Royal National Theatre, 4 October 2007.^[9]

Selected filmography[link]

• Charing Cross Road, 1935
• Line Engaged, 1935
• The Amateur Gentleman, 1936
• Guilty Melody, 1936
• Black Limelight, 1938
• We're Going to Be Rich, 1938
• Yellow Sands, 1938
• The Nursemaid Who Disappeared, 1939
• Let George Do It, 1940
• Piccadilly Incident, 1946
• Courtney Affair/Courtneys of Curzon St., 1947
• Twist of Fate/The Beautiful Stranger, 1954
• Auntie Mame, 1958
• Go to Blazes, 1962
• The Roman Spring of Mrs. Stone, 1961
• Dr. Crippen, 1962
• Tamahine (1963)
• The Night of the Generals, 1967
• The Killing of Sister George, 1968
• The Legend of Lylah Clare, 1968
• The Ruling Class, 1972
• Theatre of Blood, 1973
• The Drowning Pool, 1975
• Xanadu, 1980 (voice only)
• Sparky's Magic Piano, 1982 (voice only)
• Eleanor, First Lady of the World, 1982
• An Englishman Abroad, Screenonline 1983
• American Dreamer, 1984
• Dreamchild, 1985

Key TV[link]

• The Guv'nor, 1955
• Charley's Aunt', 1969
• Mrs. Warren's Profession, 1972
• Lady Windermere's Fan, 1972
• Time Express, 1979
• Caviar To The General, 1990

Notable Stage[link]

• A Warm Corner Comedy Theatre, Mebourne c. 1930
• The Roof Comedy Theatre, Mebourne 1931
• Loyalties Comedy Theatre, Mebourne May 1931
• Hay Fever
• The Quaker Girl
• The Apple Cart
• Dear Brutus
• Hedda Gabler
• Children in Uniform Melbourne
• Command to Love Melbourne
• Mated 1934 or 1935
• Lover's Leap, Vaudeville Theatre London 1935
• Basalik, London Arts Theatre Club 1935
• Desirable Residence, Embassy Theatre London 1935
• Heroes Don't Care, St. Martin's Theatre, London 10 June 1936
• The Taming of the Shrew, New London Theatre 1936–1937
• The Great Romancer, New London Theatre 1937
• The Gusher, Prince's Theatre, London 1937
• Believe It Or Not, New Theatre, London March 1940
• The Man Who Came to Dinner, Theatre Royal, Birmingham, England, 17 November 1941
• The Man Who Came to Dinner, Savoy Theatre, London, 4 December 1941–42
• My Sister Eileen, Savoy Theatre, London, 1943
• The Last of Mrs. Cheyney, Savoy Theatre, London 1943–44
• Lady Frederick, Savoy Theatre, London, November 1946
• Lady Frederick, Grand Theatre, Blackpool, 21 April 1947
• Lady Frederick, Theatre Royal, Brighton, 16 June 1947
• Canaries Sometimes Sing, Grand Theatre, Blackpool, 3 November 1947
• Castle in the Air, Adelphi Theatre, London, 1949–50
• Othello, Old Vic Theatre, London, 31 October 1951
• King Lear, Old Vic, London, 3 March 1952
• Affairs of State, Theatre Royal, Brighton, 28 July 1952
• Affairs of State, Cambridge Theatre, Cambridge Circus, 21 August 1952
• Affairs of State, Hippodrome, Bristol, 1953–54
• Simon And Laura, Strand Theatre, London, 1954
• Nina Theatre Royal Haymarket, London, 27 July 1955
• Macbeth Old Vic, London, 1955–56
• Macbeth Hippodrome, Bristol, 1955–56
• Tamburlaine the Greatm Playbill Winter Garden Theatre, New York, 19 January - 4 February 1956
• Tamburlaine the Great, Stratford, Ontario, Canada
• Macbeth, Winter Garden Theatre, New York, 29 October 1956 – 12 January 1957
• Troilus and Cressida, Winter Garden Theatre, New York, 26 December 1956 – 12 January 1957
• Hamlet, Old Vic, London, 1957–58
• A Midsummer Night's Dream, Old Vic, London, 1957–58
• The Pleasure of His Company, Theatre Royal Haymarket, London, 1957–58
• Toys In The Attic, Piccadilly Theatre, London, 10 November 1960
• Bonne Soupe, The Comedy Theatre London, 1960
• Bonne Soupe, New Theatre, Oxford, 26 September 1961
• Bonne Soupe, Wyndham's Theatre London, 13 February 1962
• The Rehearsal, Royale Theatre, New York, 23 September - 28 December 1963
• The Right Honourable Gentleman, Billy Rose Theatre, New York, 19 October 1965 – 22 January 1966
• Lady Windermere's Fan, Phoenix Theatre, London, 1966
• Lady Windermere's Fan, Theatre Royal, Brighton, 23 August 1966
• What the Butler Saw, Queen's Theatre, London, 1969
• My Darling Daisy, Lyric Theatre, London, 1970
• Mrs. Warren's Profession, Old Vic, London, 1970–71
• The Sea, Royal Court, London, 1973–74
• The Waltz of the Toreadors Theatre Royal Haymarket, London, 1974
• Ardèle, Queen's Theatre, London, 1975
• Charley's Aunt, Cirque Dinner Theatre, Seattle, 12 August 1975
• Charley's Aunt Granny's Dinner Theatre, Dallas, 16 March – 10 April 1976
• Charley's Aunt, National U.S. tour, 10 May – 26 June 1976
• The Importance of Being Earnest, Mark Taper Forum, Los Angeles, 1976
• Travesties, Mark Taper Forum, Los Angeles, 1976

Footnotes[link]

References[link]

• Coral Browne: 'This Effing Lady' (2007) by Rose Collis, Oberon Books, ISBN 978-1-84002-764-8
• The Coral Browne Story (2007) by Barbara Angell, ISBN 978-0-646-47322-2 [1]
• Vincent Price: A Daughter's Biography (1999) by Victoria Price, ISBN 0-312-26789-4
• Who's Who (1991 edition) St. Martin's Press, 1991, p. 241
• Variety, 3 June 1991, p. 69
• The Daily Telegraph obituary (31 May 1991)

External links[link]

Biography portal

• Coral Browne Collection at the Performing Arts Collection, Arts Centre, Melbourne
• Coral Browne at the Internet Broadway Database
• Coral Browne at the Internet Movie Database
• Coral Browne website
• Coral Browne biography and filmography at the British Film Institute's Screenonline

• Coral Browne's Australian theatre credits at Ausstage

Dame Anna Neagle, DBE (20 October 1904 – 3 June 1986), born Florence Marjorie Robertson, was a popular British stage and film actress and singer.

Neagle proved to be a box-office sensation in British films for over 25 years. She was noted for providing glamour and sophistication to war-torn London audiences with her lightweight musicals, comedies and historical dramas. She won several awards as Britain's favourite actress and biggest female box-office draw. Almost all of her films were produced and directed by Herbert Wilcox, whom she married in 1943.

In her historical dramas, Anna Neagle was renowned for her portrayals of real-life British heroines, including Nell Gwynn (Nell Gwynn, 1934), Queen Victoria (Victoria the Great, 1937, and Sixty Glorious Years, 1938) and Edith Cavell (Nurse Edith Cavell, 1939).

Biography[link]

Early life[link]

Neagle was born in Forest Gate, Essex, daughter to Herbert Robertson, a Merchant Navy captain, and his wife, the former Florence Neagle.^[1] Robertson attended primary school in Glasgow and then St Albans High School for Girls.^{[citation needed]} She made her stage debut as a dancer in 1917, and later appeared in the chorus of C. B. Cochran's revues and also André Charlot's revue Bubbly. While with Cochran she understudied Jessie Matthews.^[2]

Anna Neagle in a 1931 portrait.

In 1931 she starred in the West End musical Stand Up and Sing (1931), with actor Jack Buchanan, who encouraged her to take a featured role. For this play she began using the professional name of Anna Neagle (the surname being her mother's maiden name).^[3] The play was a huge success with a total run of 604 performances.^[3] Stand Up and Sing provided her big break when film producer and director Herbert Wilcox, who had caught the show purposely to consider Buchanan for an upcoming film, but also took note of her cinematic potential.^[4]

Cinematic beginnings[link]

Forming a professional alliance with Wilcox, Neagle played her first starring film role in the musical Goodnight Vienna (1932), again with Jack Buchanan. With this film Neagle became an overnight favourite. Although the film cost a mere £23,000 to a produce, it was a huge hit at the box office, profits from its Australian release alone being £150,000.^[6]

After her starring role in The Flag Lieutenant that same year, directed by and co-starring Henry Edwards, she worked exclusively under Wilcox's direction for all but one of her subsequent films,^[3] becoming one of Britain's biggest stars.

She continued in the musical genre, co-starring with Fernand Graavey (later known as Fernand Gravet) in Bitter Sweet (1933). This first version of Noël Coward's tale of ill-fated lovers was later obscured by the more famous Jeanette MacDonald-Nelson Eddy remake from 1940.^[3]

Neagle had her first major success with Nell Gwyn (1934), which Wilcox had also shot in 1926 as a silent starring Dorothy Gish. Neagle's performance as the woman who became the mistress of Charles II (Sir Cedric Hardwicke) prompted some censorship in the United States. The Hays Office had Wilcox add a (historically false) scene featuring the two leads getting married and also a "framing" story resulting in an entirely different ending.^[7] Noted writer Graham Greene said of Nell Gwynn: "I have seen few things more attractive than Miss Neagle in breeches".^[6]

Two years after Nell Gwynn, she followed up with another true-life figure, portraying Irish actress Peg Woffington in Peg of Old Drury (1936). That same year she appeared in Limelight, a backstage musical in which she played a chorus girl. Her co-star was Arthur Tracy, who had gained fame in the United States as a radio performer known as 'The Street Singer'. The film also featured Jack Buchanan in an unbilled cameo.^[8] performing "Goodnight Vienna".^[4]

Neagle and Wilcox followed with a circus trapeze fable The Three Maxims (1937), which was released in the United States as The Show Goes On. The film, with a script featuring a contribution from Herman J. Mankiewicz (who later co-wrote Citizen Kane with Orson Welles), had Neagle performing her own high-wire acrobatics.^[6] Although now highly successful in films, Neagle continued acting on stage. In 1934, while working under director Robert Atkins, she performed as Rosalind in As You Like It and Olivia in Twelfth Night. Both productions earned her critical accolades, despite the fact that she had never performed Shakespearean roles before.^[3]

In 1937 Neagle gave her most prestigious performance so far – as Queen Victoria in the successful historical drama Victoria the Great (1937), co-starring Anton Walbrook as Prince Albert. The script by Robert Vansittart and Miles Malleson (from Laurence Housman’s play Victoria Regina) alternated between the political and the personal lives of the royal couple.^[6] The Diamond Jubilee sequence that climaxed the film was shot in Technicolor. Victoria the Great was such an international success that it resulted in Neagle and Walbrook essaying their roles again in an all-Technicolor sequel entitled Sixty Glorious Years (1938), co-starring C. Aubrey Smith as the Duke of Wellington. While the first of these films was in release, Neagle returned to the London stage and entertained audiences with her portrayal of the title role in Peter Pan.^[3]

An American excursion[link]

The success of Victoria the Great and Sixty Glorious Years caused Hollywood studios to take notice. Neagle and Wilcox began an association with RKO Radio Pictures. Their first American film was Nurse Edith Cavell (1939), a remake of Dawn, a Wilcox silent that starred Sybil Thorndike. In this, still another Neagle performance of a true-life British heroine, she essayed the role of the nurse who was shot by the Germans in World War I for alleged spying. The resulting effort had a significant impact for audiences on the eve of war.^[6]

In a turnabout from this serious drama, they followed with three musical comedies, all based on once-popular stage plays. The first of these was Irene (1940), co-starring Ray Milland. RKO probably gave the film bigger production values than England could have afforded. It included a Technicolor sequence, which featured Neagle singing the play's most famous song, "Alice Blue Gown". She followed this film with No, No, Nanette (1940) with Victor Mature, in which she sang "Tea For Two". She then made Sunny (1941) with Ray Bolger.

Neagle and Wilcox's final American film was Forever and a Day (1943), a tale of a London family house from 1804 to the 1940 blitz. This film boasts 80 performers (mostly British), including Ray Milland, C. Aubrey Smith, Claude Rains, Charles Laughton and – among the few North Americans – Canadian Buster Keaton. Wilcox directed the sequence featuring Neagle, Milland, Smith and Rains, while other directors who worked on the film included René Clair, Edmund Goulding, Frank Lloyd, Victor Saville and Robert Stevenson. During the war the profits and salaries were given to war relief. After the war, prints were slated to be destroyed, so that no one could profit from them. However, this never occurred.^[6]

Back to Britain[link]

Returning to Britain, Neagle and Wilcox commenced with They Flew Alone (1942; shot after but released before Forever and a Day). Neagle added another real-life British heroines to her gallery, this time as aviatrix Amy Johnson. Robert Newton’s co-starred as Johnson's husband, Jim Mollison. The film, which was released a year after the aviatrix’s death, was noted for inter-cutting the action with newsreel footage.^[6]

After making this film, Neagle and Wilcox made their professional relationship a personal one as well when they married on 9 August 1943.^[9]

They returned to filmmaking with The Yellow Canary (1943), co-starring Richard Greene and Margaret Rutherford. In this spy story, Neagle plays a German-sympathiser (or at least that is what she seems to be at first) who is forced to go to Canada for her own safety. In reality, of course, she's working as an undercover agent out to expose a plot to blow up Halifax Harbour. The Yellow Canary was noted for its atmospheric recreation of wartime conditions.^[4]

In 1945 Neagle appeared on stage in Emma, a dramatisation of Jane Austen's novel. That same year she was seen in the film I Live in Grosvenor Square, co-starring Rex Harrison. She wanted Harrison for the lead in her next film, Piccadilly Incident (1946). However, he (as well as John Mills) proved to be unavailable at the time, so Wilcox cast Michael Wilding in the lead. Thus was born what film critic Godfrey Winn called "the greatest team in British films".^[6] The story – of a wife, presumed dead, returning to her (remarried) husband – bears a resemblance to the Irene Dunne-Cary Grant comedy My Favorite Wife and its remake, Move Over Darling with Doris Day. Piccadilly Incident was chosen as Picturegoer’s Best Film of 1947.

Neagle and Wilding were reunited in The Courtneys of Curzon Street (1947), a period drama that became the year's top box-office attraction. The film featured Wilding as an upper class dandy and Neagle as the maid he marries, only to have the two of them driven apart by Victorian society.^[4]

The third pairing of Neagle and Wilding in the "London films", as the series of films came to be called, was in Spring in Park Lane (1948). A drama, this depicted the romance between a millionaire’s niece and a footman (rather than valet, originally claimed here. He is frequently referred to as a footman in the photoplay) valet (actually a nobleman who has seen better days). The script was written by Nicholas Phipps, who also played Wilding’s brother. Although not a musical, it contains a dream sequence featuring the song "The Moment I Saw You". The song's orchestrator was Robert Farnon, who would later work with Frank Sinatra. Spring in Park Lane was the 1949 Picturegoer winner for Best Film, Actor and Actress.^[6] Neagle and Wilding were together for a fourth time in the Technicolor romance Maytime in Mayfair (1949). The plot is reminiscent of Roberta, as it had Wilding inheriting a dress shop owned by Neagle.^[4]

By 1950, Neagle was at her zenith as Britain’s top box-office actress, and in that year she made what reputedly became her own favourite film, Odette, co-starring Trevor Howard, Peter Ustinov and Marius Goring. As Odette Sansom, she was the Anglo-French resistance fighter who was pushed to the edge of betrayal by the Nazis.^[6]

Going from this real-life British heroine, she went straight on to playing Florence Nightingale in The Lady with the Lamp (1951); Kay Francis had previously portrayed Nightingale in a 1936 American film, The White Angel).

Returning to the stage in 1953, she scored a major success with The Glorious Days, which had a run of 476 performances. Neagle and Wilcox brought the play to the screen under the title Lilacs in the Spring (1954), co-starring Errol Flynn. In the film she plays an actress knocked out by a bomb, who dreams she is Queen Victoria and Nell Gwyn – as well as her own mother. As she begins dreaming, the film switches from black and white to colour. In England, where Neagle had top billing, the film was reasonably successful. In the United States, however, where Flynn had top billing, the title was changed to Let's Make Up, and it flopped, with limited bookings.^[6][10]

On the wane[link]

Neagle and Flynn reteamed for a second flm together, King's Rhapsody (1955), based on an Ivor Novello musical and also starring Patrice Wymore (Flynn's wife at the time). Although Neagle performed several musical numbers for the film, most of them were cut from the final release, leaving her with essentially a supporting role. Shot in Eastmancolor and CinemaScope with location work near Barcelona, Spain, King's Rhapsody was a major flop everywhere. Neagle's (and Flynn's) box-office appeal, it seemed, was beginning to fade.^[11]

Neagle's last box-office hit was My Teenage Daughter (1956), which featured her as a mother trying to prevent her daughter (Sylvia Syms) from lapsing into juvenile delinquency.^[4]

Neagle and Syms worked together again on No Time For Tears (1957), also starring Anthony Quayle and Flora Robson. As directed by Cyril Frankel, this was the first film for over 20 years where Neagle was directed by someone other than Herbert Wilcox. Set in a children's hospital, the film features Neagle as a matron dealing with the problems of the patients and the staff, notably a nurse (Syms) infatuated with one of the doctors (George Baker).^[4]

With her husband, Neagle began producing films starring Frankie Vaughan, but these were out of touch with changing tastes, and lost money, resulting in Wilcox going heavily into debt. Neagle herself made her final film appearance in The Lady is a Square (1957).

Final years[link]

Herbert Wilcox was bankrupt by 1964, but his wife soon revived his fortunes. She returned to the stage the following year and made a spectacular comeback in the West End musical Charlie Girl. In it she played the role of a former "Cochran Young Lady" who marries a peer of the realm. Charlie Girl was a phenomenal success that ran for a staggering six years and 2,047 performances. It earned Neagle an entry in the Guinness Book of World Records for her enduring popularity.^[3]

Two years after Charlie Girl – which she also performed in Australia and New Zealand – Neagle was asked to appear in a revival of No, No, Nanette, which she had done onscreen three decades earlier. Later, in 1975, she replaced Celia Johnson in The Dame of Sark and, in 1978 (the year after her husband's death), she was acting in Most Gracious Lady, which was written for the Silver Jubilee of Queen Elizabeth II.^[12]

Although plagued by Parkinson's disease in her later years, Neagle continued to be active. In 1985 she appeared as the Fairy Godmother in a production of Cinderella at the London Palladium.^[13]

Neagle died in 1986, aged 81. (Some sources state that Neagle was suffering from cancer at the time of her death). She was interred alongside her husband in the City of London Cemetery.^[9]

Awards[link]

Neagle was created a Commander of the Order of the British Empire (CBE) in 1952 and, for her contributions to the theatre, a Dame of the Order of the British Empire (DBE) in 1969.

Filmography[link]

The following list contains all of Neagle's acting credits in feature-length films with the exception of Queen Victoria (1942), which is actually a compilation of two earlier films, Victoria the Great and Sixty Glorious Years. All of her films were directed by Herbert Wilcox and produced in the United Kingdom unless otherwise noted.

In addition, Neagle also appeared briefly as herself in a documentary short entitled The Volunteer (1943), and served as narrator for the films The Prams Break Through (1945) and Princess's Wedding Day (1947). Neagle also produced, but did not appear in, three films starring Frankie Vaughan: These Dangerous Years (1957), Wonderful Things (1957), and The Heart of a Man (1959).

^[14]

Recordings by Anna Neagle[link]

• What More Can I Ask?, with orchestra conducted by Ray Noble

HMV B 4365 (matrix: 0B 4586-3)

Recorded London 4 January 1933

• The Dream Is Over, with orchestra conducted by Ray Noble

HMV B 4365 (matrix: 4587-4)

Recorded London 4 January 1933

• Tonight, duet with Trefor Jones with Geraldo and his Orchestra

Columbia(England) DB 1316 (matrix: CA 14314-1)

Recorded London 30 January 1934

• Kiss Me Goodnight

Decca(England) F 5649 (matrix: TB 1869)

Recorded London 9 August 1935

• A Little Dash Of Dublin

Decca(England) F 5649 (matrix: TB 1870)

Recorded London 9 August 1935

Box Office Popularity[link]

Annual polls of British exhibitors for the Motion Picture Herald consistently listed Neagle as a leading box office star in her home country.

• 1937 - 8th most popular British star^[15]
• 1938 - 8th most popular British star^[16]
• 1939 - 6th most popular British star^[17]
• 1942 - most popular female British star^[18]
• 1945 - 8th most popular British star
• 1946 - 5th most popular British star^[19]
• 1947 - 3rd most popular star^[20]
• 1948 - most popular British star
• 1949 - most popular star - the first time since the polls started that the most popular star in Britain had been a local^[21]
• 1950 - 3rd most popular star - fourth year in a row as most popular British star^[22]
• 1951 - 6th most popular star (2nd most popular British star)^[23]
• 1952 - 8th most popular British star - 6th year in a row as most popular female British star^[24]