In episode two, Polly dates Bennett Cerf. Cora goes to a circus party. Mae receives a visit from Mrs Howard. June's 'rafter romance' takes a turn. And will Ruby have a shot at a screen test?

Starring:

Clara Higgins as Mae Devine

Jennifer O'Meara as Polly Trainor

Jeanne Sutton as Cora Smith

Olympia Kiriakou as Ruby Dawn

M. Shawn as June Winter

Megan McGurk as Mrs Howard

Salon Devine was written and directed by Megan McGurk

Art design by Clara Higgins

Sound editing and special effects by Dan McAuley

Our story opens in September 1933 in Salon Devine, located at Broadway and 45th.

Friday night in Salon Devine is electric with the energy of ambitious beauty operators and show girls. Cora wants a fur coat. Ladies in the salon discuss various ways of getting one.

Meet the dames:

Mae Devine is played by Clara Higggins

Polly Trainor is played by Jennifer O'Meara

Cora Smith is played by Jeanne Sutton

Ruby Dawn is played by Olympia Kiriakou

June Winter is played by M. Shawn

Mimi Stone is played by Megan McGurk

Salon Devine is written and directed by Megan McGurk

Cover art by Clara Higgins

Sound editing and special effects: Dan McAuley

In 1939, Joan Crawford attempted to rebound from personal and professional setbacks by taking a risk on a small part an ensemble picture where even the roles of maids were fought over. Studio boss Louis B Mayer didn't want Joan to take the part. She stuck to her guns and made Crystal Allen a standout. Joan uses four different New York accents to show that a social climber needs to not only look the part, but sound it, too. And I'll tell you about the real backstage power struggle--between men.

Before the craze for mob syndicates became all the rage in Hollywood, Frank Capra's picture with Barbara Stanwyck and Marie Prevost argued that rich men were the real gangsters. Men in the society register could serve caviar in office orgies and maul gals on the night boat to Albany. Kay Arnold (Stanwyck) and Dot Lamarr (Prevost) are just two working girls trying to make a living on the edges of society graft. Their friendship is more compelling than the romantic angle. When the chips are down, you can rely on a dame like Marie Prevost. Stanwyck's star vehicle is still one of her best performances.

Lana Turner received her only Oscar nomination for her performance as a single mom who runs a dress shop in a conservative small town. The picture showcases the acting techniques she developed over 18 years in MGM with drama coach Lillian Burns. The screen adaptation of the bestseller by Grace Metalious was one of the biggest hits of her career. Peyton Place also coincided with the biggest scandal of her life.

Doris Day made a big splash in her screen debut. Armed with hipster sass, a great wardrobe, and songs that rocked the hit parade, she is every bit the star. Doris was so successful at the box office that the studio worked her like a dog until she had a nervous breakdown. Despite the pressure of being a star and the men who exploited her sunny persona, Doris Day was a survivor.

Esther Williams turns the life story of Australian swimmer Annette Kellerman into a big Hollywood spectacle that also has something to say about a woman's right to work and define her own life. The backstage drama surpassed what occurs on the screen. Esther enjoyed a lusty affair with co-star Vic Mature and performed dangerous stunts throughout production. She was probably the only star in MGM the front office could not threaten to replace.

Elizabeth Taylor had nearly as many problems with her health during production of Cleopatra as she had costume changes. Although she negotiated a sweet deal to star as the legendary queen, the pressure from studio executives, investors, and insurance agents was ruinous. They made bad decisions that endangered her life. And then the affair with Burton nearly ended it--twice. Elizabeth Taylor rose above calamity like a queen.

Muriel and Sydney Box's Oscar-winning script offers a potent fantasy for women. Byronic James Mason believes in Ann Todd's artistic gift for the piano. He devotes himself to her transformation into a world-class pianist. He waits for her to become great and he waits for her to realise she loves him. This is a heady combination that makes only one ending possible. Ann Todd admitted years later that they had a passionate affair during production.

In Hitchcock's narrative economy, men can't see past the nose on their face. Women, on the other hand, have keen powers of observation. If not for an older governess, a nun, and a society dame in a monogrammed scarf, all would be lost. Margaret Lockwood gets stuck into political intrigue in a picture that made her an international star. Like her character, Iris Henderson, Margaret knew her own mind, and remained steadfast to her vision of dramatic arts during a long an illustrious career in film, theatre, and television.