instruments there as entertainment. Following schooling, she moved to the Big Apple where (billed as Una Villon) she caught the fetching eye of Broadway and nightclub talent ("Murder at the Vanities" (1930)) and worked as various chorines on stage, nightclubs and Earl Carroll revues. Claiming she was Latino, she even went so far as to learn Spanish.
On her own, Dona did a few short films and two-reelers, sang on the airwaves and revved up her image signing on radio. Good friend Dorothy Lamour assisted in getting her signed up to Paramount, where the studio changed her name to "Dona Drake" and built up her Latino background by sending out studio resumes that she was christened Rita Novella, was of Mexican, Irish and French descent and born and raised in Mexico City. Dona's first picture for the studio was in the Dorothy Lamour vehicle Aloma of the South Seas (1941). She then pepped up the Bob Hope starrer Louisiana Purchase (1941) as well as an Arab girl in the Hope/Crosby/Lamour comedy Road to Morocco (1942). Unable to break out of her typecasting as a spicy singing support, her contract was dropped after a sparkling big band singing lead loanout to Monogram entitled Hot Rhythm (1944). Around this time she married the Oscar- and Emmy-winning costume designer William Travilla.