In 1923, the duo received an invitation to work with the entrepreneur Pascoal Segreto and his company,[4] performing Ilha dos Amores, Quem Paga É o Coronel, both by Freire Jr., and Francesinha do Bataclan, by Gastão Tojeiro, among others.

Alda's success in the genre makes her maintain a dual professional practice; on one side the usual comedies from her own production company, in which she works with her husband, on the other, the contracts with entrepreneurs in the vaudeville sector.

In 1939, entrepreneur Walter Pinto makes Garrido and Aracy Cortes, in the show Tem Marmelada, by Carlos Bittencourt and Cardoso de Meneses,[1] to share the stage at Teatro Recreio for the last time.

Among the most successful revues of her career are Maria Gasogênio,[6] satire about the shortage of gasoline in the years of World War II, and Da Favela ao Catete,[6] (1935) by Freire Jr. and Joubert de Carvalho.

[5] The actress becomes the symbol of Brazilianness, as shown in the following excerpt from journalist Jota Efegê: "The market vendor Dona Xepa, right up to Alda Garridos's artistic invoice, gives rise to a spontaneous performance where her intuition prevails in the composition of the figure.