The Girl in the Taxi

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The Girl in the Taxi: A West End Farce

"The Girl in the Taxi" premiered at London’s Lyric Theatre on September 5, 1912, under producer Philip Michael Faraday, delighting audiences with 385 performances. Adapted by Frederick Fenn and Arthur Wimperis from Jean Gilbert’s operetta "Die keusche Susanne" (1910), with its German libretto by Georg Okonkowski based on the French play "Fils à papa" by Antony Mars and Maurice Desvallières, this Edwardian musical comedy brought a saucy Parisian flair to the West End. Starring Yvonne Arnaud, Arthur Playfair, and Charles H. Workman, it offered a rol airs of playful infidelity and slapstick humor, cementing its status as a merry theatrical romp.

A Cab Ride to Chaos

The plot kicks off when Baron Dauvray and Mme. Charcot, both married, unknowingly share a taxi to the Jeunesse Dorée restaurant. Strangers at first, they hit it off and dine together in a private room, setting off a chain of amorous escapades. The Baron’s son Hubert, daughter Jacqueline, her fiancé Réné, and the virtuous Suzanne Pomarel along with Mme. Charcot’s husband converge at the same venue, each pursuing their own clandestine affairs. The chaos peaks when the restaurant’s head waiter, now a butler at the Baron’s home, threatens to expose their antics at a breakfast showdown, only for the blame to hilariously shift to a drunken Pomarel.

A Cast of Comic Brilliance

Yvonne Arnaud dazzled as Suzanne Pomarel, infusing the role with wit and allure, while Arthur Playfair’s Baron Dauvray balanced prudishness with nocturnal mischief. Charles H. Workman’s M. Pomarel delivered laughs with his bewildered innocence, supported by a lively ensemble including Maggie May as Baroness Dauvray and Alec Fraser as Hubert. Their knack for physical comedy especially in scenes of diving under tables elevated the farce, earning praise from B. W. Findon in *The Play Pictorial* as “the merriest of musical farces.”

Catchy Tunes and Parisian Flair

Jean Gilbert’s score brimmed with lively melodies, echoing the operetta’s German roots while embracing a French zest. Songs like those accompanying the restaurant revelry and the Act 3 knockabout antics added a catchy pulse to the comedy. Though not all tunes lingered in memory, they paired seamlessly with the show’s lavish costumes and spirited choreography, amplifying its rowdy charm. The music underscored the plot’s playful deceptions, making it a sensory treat for Edwardian audiences.

A Global Theatrical Journey

Following its West End success, "The Girl in the Taxi" toured internationally, reaching Australia in 1915 with J. C. Williamson’s company, featuring Workman reprising his role. It spawned a 1921 American film and a 1937 British remake, while reverting to French as "La chaste Suzanne" in Paris and Lyon in 1913. South American stagings in Italian ("La casta Susana") and Spanish ("La chasta Suzanna") further spread its fame. Though its risqué humor later waned in favor, its initial run showcased the West End’s knack for exporting gleeful farce.

An Edwardian Nighttime Romp

Emerging in the West End’s pre-war heyday, "The Girl in the Taxi" captured the era’s taste for cheeky, escapist fun. The Lyric Theatre’s staging, under Faraday’s direction, turned a simple cab ride into a whirlwind of laughter and innuendo. While its plot of marital misadventure feels quaint today, its spirited performances and infectious energy reflect a time when theatre reveled in the absurd. It remains a vivid snapshot of Edwardian London’s love for a good, giddy scandal.