The Girl Behind the Counter

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The Girl Behind the Counter: A West End Delight

"The Girl Behind the Counter" debuted at London’s Wyndham’s Theatre on April 21, 1906, under the production of Frank Curzon and direction of Austen Hurgon. This Edwardian musical comedy, with a book by Arthur Anderson and Leedham Bantock, music by Howard Talbot, and lyrics by Anderson with additions by Percy Greenbank, ran for 141 performances. Its farcical charm and spirited cast, including Isabel Jay and C. Hayden Coffin, made it a notable hit. The show later crossed the Atlantic, enjoying a revamped Broadway run of 282 performances from October 1, 1907, to June 6, 1908, adapted by Edgar Smith and starring Lew Fields and Connie Ediss.

A Tale of Shopgirl Shenanigans

The story follows Winnie Willoughby, who rebels against her mother’s plan to wed her to the insufferable Viscount Gushington. Instead, Winnie persuades Millie Mostyn, manageress of the Maison Duval department store, to let her run the flower stall. Her first customer, Charlie Chetwynd freshly enriched from Africa’s goldfields ignites a romance. Trouble brews when £10 goes missing from her till, leading to her dismissal. Act Two unfolds at a fancy ball, where Winnie clears her name, wins Charlie, and gains her father’s blessing, wrapping up the farce with a triumphant flourish.

Star Power on Stage

Isabel Jay shone as Winnie Willoughby, her soprano finesse lighting up the role, while C. Hayden Coffin brought rugged appeal to Charlie Chetwynd. Lawrence Grossmith, as the pompous Viscount Gushington, added comedic flair. The Broadway adaptation featured Lew Fields as a standout, with Connie Ediss delivering laughs as Mrs. Henry Schniff. The ensemble, including cash girls and quirky shop staff, enriched the bustling store setting. These performances fueled the show’s success, blending vocal talent with theatrical gusto.

Musical Moments That Sparkled

Howard Talbot’s score buzzed with energy, featuring numbers like the chorus’s “Hurry, scurry, to and fro” and Duval’s “Oh! ze managère discreet.” Highlights included Millie’s “In a sleepy country hamlet” and the duet “When you are by my side a king am I.” The Broadway version added tunes like “When You Steal a Kiss or Two” by Kenneth S. Clark and “The Cherry in the Glass” by Paul Lincke. Though not all songs endured, they captured the era’s playful tone, enhanced by lively choreography and period costumes.

From London to Broadway and Beyond

After its West End run, "The Girl Behind the Counter" found new life on Broadway, nearly doubling its performance count. Its appeal stretched further with tours in the British provinces, the U.S., Australia, and beyond, plus several revivals. While it didn’t match the longevity of some contemporaries, its international reach showcased its charm. The New York adaptation leaned into broader comedy, tailoring it for American tastes while preserving the core farce that won London’s heart.

An Edwardian Theatrical Snapshot

Born in the West End’s vibrant Edwardian era, "The Girl Behind the Counter" reflected the period’s love for light, romantic farce. Wyndham’s Theatre, under Curzon’s savvy production, was the perfect stage for its debut. The show’s blend of shopgirl antics, catchy melodies, and a happy ending epitomized the escapist joy of the time. Though overshadowed by longer-lasting hits, it remains a charming relic of early 20th-century musical theatre, highlighting the talents that defined an era.