'This musical piece is now close on its hundredth performance, presumably to the delight of "all concerned," and, moreover, to the complete mystification of the clever ones who, after the first night of Yvonne, were convinced that Daly's had a bad failure. Jealousy is not unknown in the world of the theatre and quite a number of people were intensely pleased to think that Daly's, which has made its own brand of musical comedy world-famous, was not infallible. Happily, a possible failure has been turned into a very certain success.
'Yvonne is not another Merry Widow [Daly's, London, 8 June 1907] but in its present form is certainly one of the most amusing musical comedies in London. The big hit, of course, is "Teach Me to Dance," the duet and dance worked by Gene Gerrard and Hal Sherman. This amazingly funny burlesque of dance fads and fashions has improved with age and now receives as many encores each evening as did "Leander," the song success of Katja the Dancer, Yvonne's famous predecessor. Messrs. Gerrard and Sherman give an entirely new version of that perennial favourite, the Apache Dance. In it the inevitable red rose, which is always coyly thrown from partner to partner, is filled with lead! Will cabaret producers please copy?
'Unless you happen to be enslaved to the idea of noise, "pep," and untiring (except to the audience) energy, the absence of the Charleston and other contortionist dances will be a pleasant change. Instead, there is Ivy Tresmand, one of the few remaining musical comedy actresses who dance with a natural grace, which charms because it is natural and not the result of determined efforts to beat American "board beaters" at their own game. Her "Day Dreams" number in the last act alone would justify Yvonne. It is tuneful and prettily stage, while Miss Tresmand's dancing leaves one wishing that the producer could have found room for more of it – English dancing full of the real beauty of movement, not merely a series of highly technical "steps."
'Whatever the vicissitudes of musical comedy in London, the provinces remain a theatrical Tom Tiddler's ground for all sorts of musical plays, old, new and those which try to catch up with the times by calling themselves revues. Musical comedies that were seen in London in pre-war days are still touring in various parts of the country, while the first tours of an important success of to-day are becoming nearly as important as the actual London productions. The No. I company of Yvonne, which recently opened at Dublin, is an example of the care and money that are lavished on the modern touring company. Staging, production, and cast compare very favourably with the original to be seen at Daly's. The title part is played by Mamie Watson, with Mona Magnet as Lolette, Walter Bird as Max, Jay Laurier (last seen in London in Cleopatra [Dalys, 2 June 1925]) as the Professor, and Horace Percival in his original part of Victor. A new tour of Katja, the Dancer is also doing exceptionally well. Billy Leonard is extraordinarily funny in the Gene Gerrard part. Patricia is played by Billie Hill, the Yvonne of the original tour of that piece. Edith Cecil is the Katja, and Roy Russell, whose fine voice was an asset to Riki-Tiki [by Leslie Stiles and Eduard Kunneke, Gaiety, London, 16 April 1926, 18 performances], the prince.'
(The Theatre World and Illustrated Stage Review, London, September 1926, p.21)
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