Yes, Uncle!
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Yes, Uncle!: A West End Wartime Delight
"Yes, Uncle!" is a musical comedy that brightened London’s West End during the dark days of World War I. With a book by Austen Hurgon and George Arthurs, music by Nat D. Ayer, and lyrics by Clifford Grey, it opened at the Prince of Wales Theatre on December 16, 1917, running for an impressive 626 performances until June 28, 1919. Adapted from the French farce *Le truc du Brésilien* by Nicolas Nancey and Paul Armont, this frothy tale of mistaken identities and Parisian mischief offered audiences a much-needed escape. Starring Leslie Henson and Fred Leslie, its catchy tunes and lighthearted plot made it a standout hit among wartime shows, leaving a lasting echo in theatre history.
Origins and Creation
The musical sprang from *Le truc du Brésilien*, a French play about a Brazilian trickster’s antics, which Hurgon and Arthurs reshaped into a British-friendly romp. Set in Paris, it follows Bobby Summers, who impersonates his artist friend George Stark to untangle romantic entanglements, with Mabel Mannering posing as Mrs. Stark both chirping “Yes, Uncle!” to their meddling Uncle Brabazon Hollybone. Ayer, fresh off *The Bing Boys Are Here*, delivered an upbeat score, while Grey’s lyrics added playful zest. Produced by George Grossmith Jr. and Edward Laurillard, it joined a wave of escapist hits like *Chu Chin Chow*, tailored for a war-weary public craving laughter.
The Cast and Creative Team
Leslie Henson dazzled as Bobby Summers, his comedic flair driving the show, alongside Fred Leslie as George Stark, bringing vocal depth. Margaret Bannerman sparkled as Joan, with Lily St. John as Nichette and Madge Elliott later joining as Mabel, paired with Cyril Ritchard. Directed with a light touch, the production leaned on Ayer’s buoyant melodies like the titular refrain and Grey’s witty lines. The creative team, seasoned from prior successes, crafted a breezy spectacle at the Prince of Wales, with simple yet effective staging that kept the focus on the performers’ charm and the plot’s delightful absurdity.
West End Reception and Wartime Impact
Opening amid wartime austerity, "Yes, Uncle!" was a critical and popular triumph. Reviews praised its “sparkling nonsense” and Henson’s “irresistible buffoonery,” with audiences flocking for relief from the trenches’ gloom. Running 626 performances, it outshone many peers, joining *The Maid of the Mountains* as a morale-boosting staple. Its success reflected a hunger for frivolity Bobby’s disguise as a French count at the Four Arts Ball and the ensuing chaos hit the right note. By 1919, it had solidified its place as a wartime crowd-pleaser, its catchy “Yes, Uncle!” refrain echoing through Theatreland.
Legacy and Historical Footprint
"Yes, Uncle!" faded after its West End run, lacking the staying power of *The Boy* or *Theodore & Co.*, with no major revivals or recordings to sustain it. Yet its 626-performance streak rare for the era marks it as a wartime phenomenon, buoying spirits when London needed it most. Ayer and Grey’s collaboration paved the way for later hits, while Henson’s star rose further. Today, it’s a charming relic of early 20th-century musical comedy, a testament to theatre’s power to lift a city under siege, even if its tunes no longer ring out.