The Yashmak

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The Yashmak: A West End Eastern Romance

"The Yashmak" premiered in London’s West End at the Shaftesbury Theatre on December 31, 1909, a musical billed as “A Story of the East” that ran for a modest 37 performances, closing in early February 1910. Written by Cecil Raleigh and Henry Hamilton, with music credited to “Napoleon Lambelet” (though rumored to feature Arthur Sullivan’s work), it was produced by Frederick Harrison and Cyril Maude. This exotic spectacle aimed to captivate with its blend of romance and Eastern allure, starring Florence Smithson and Hayden Coffin. Despite its ambitious staging and a cast of Edwardian notables, it faded quickly, overshadowed by fiercer competition, leaving a faint trace in West End history.

A Veil of Love and Intrigue

Set in an unspecified Eastern realm, the plot follows Leila, a veiled beauty (the “Yashmak” referring to her face covering), who loves Captain Arthur Brandon of the British Navy. Her father, a powerful Emir, opposes their union, favoring a local suitor, Prince Ismail. When Brandon rescues Leila from a forced marriage, they flee, pursued by Ismail and his men. Disguises, daring escapes, and a climactic confrontation unfold, with Leila’s unveiling symbolizing her freedom and love’s victory. The story, a melodrama wrapped in musical trappings, leaned on Victorian fascination with the Orient, delivering a predictable yet picturesque tale of cross-cultural romance.

Music Shrouded in Mystery

The score, officially by Napoleon Lambelet, stirred intrigue with whispers that Arthur Sullivan posthumously contributed, given his death in 1900 and known Eastern-themed works like “The Rose of Persia.” Songs like “Under the Yashmak” and “The Desert Calls” aimed for an evocative, pseudo-Oriental flavor, blending light operetta with romantic ballads. Conducted by an uncredited maestro, the music leaned on lush orchestration to evoke bazaars and moonlit sands, though no recordings survive. Critics found it pleasant but unremarkable, lacking the spark to elevate the show beyond its brief run, leaving its Sullivan connection a tantalizing, unproven legend.

A Cast of Edwardian Charmers

Florence Smithson led as Leila, her soprano radiance a highlight, fresh from successes like “The Arcadians.” Hayden Coffin played Captain Brandon with dashing appeal, while Robert Evett’s Prince Ismail added menace. Supporting players like Ada Blanche as Leila’s confidante and Fred Emney as a comic servant brought levity. Directed with flair by Raleigh and Hamilton, the cast navigated elaborate sets think minarets and silk drapes yet couldn’t salvage the show’s lukewarm reception. Their talent shone, but the script’s thinness and stiff competition dimmed their spotlight, marking a fleeting moment for these West End stalwarts.

A Faded Eastern Echo

Opening on New Year’s Eve 1909, "The Yashmak" arrived amid a crowded season, facing hits like “The Dollar Princess” and “Our Miss Gibbs.” Its 37-performance run reflected a public more enchanted by Gaiety Theatre’s froth than this earnest exoticism. No Broadway transfer or revival followed, and its legacy rests in theatre logs and Sullivan speculation unconfirmed by archives. A product of Edwardian Orientalism, it briefly lit the Shaftesbury stage before vanishing, a minor footnote to the West End’s golden age, remembered more for its ambition than its impact.