PE0276. AS YOU WERE (Arthur Wimperis & Herman Darewski), recorded 1918, w. Herman Darewski Cond. London Pavilion Ensemble; Alice Delysia, Daisy Hancox, C. Hayden Coffin, Mona Vivian, Clifford Morgan & John Humphries; Additional material by Alice Delysia (whose 1933 reprise of her 'If you could care for me' [as a solo, from ‘Alice Delysia Memories’] alone is worth the price of the CD! Her use of portamento is beguiling) & Mayfair Dance Orch. (England) Palaeophonics 139, w.Elaborate ‘The Play’ 16pp. Brochure replete with numerous photos of the London Pavilion 1918 production & biographies. Excellently transferred from the legendary Acoustic 78rpm HMV rarities.
“AS YOU WERE, a fantastic revue by Arthur Wimperis (adapted from Rip's PLUS ÇA CHANGE), with music by Herman Darewski, opened at the London Pavilion 3 Aug.,1918 and ran for 434 performances.
After appearing in several stage productions in Paris, Alice Delysia played on Broadway in the chorus of THE CATCH OF THE SEASON (1905). Leading roles soon followed and in 1912 she was back in Paris for THE QUAKER GIRL and other productions. Upon her return to London she took advantage of numerous opportunities to play in revues and musical comedies, especially in adaptations of French works. One of these was AFGAR, OU LES LOISIRS ANDALOUS (1919), in which she also appeared in the USA the following year. Delysia was the star of AS YOU WERE (London Pavilion, 3 August 1918) and as such played a series of characters representing the beauties of all time, including Helen of Troy and Ninon de l'Enclos. Another American production in which she appeared was THE COURTESAN (1923) but from the mid-20s and through into the mid-30s she was mostly to be seen in London’s West End in a succession of revues and musical comedies, among them PRINCESS CHARMING (1926), THE CAT AND THE FIDDLE (1932), MOTHER OF PEARL (1933) and AT THE SILVER SWAN (1936). From then onwards until her retirement Delysia performed mostly in non-musical plays, although she also toured variety theatres and gave song recitals.”
"Arthur Wimperis began his working life as a black-and-white artist, and it was not until after the Boer War that he began a writing career. He made his theatrical mark at first as a lyricist, contributing to Robert Courtneidge's production of THE DAIRYMAIDS and to the Seymour Hicks and Ellaline Terriss musical THE GAY GORDONS, before he found major success with his songwords for a second Courtneidge show, THE ARCADIANS. With the coming of the Viennese musical, he found a new area of activity. He adapted a number of such pieces to the English stage, winning a major success with THE GIRL IN THE TAXI and a second good run with the Hungarian musical PRINCESS CHARMING, and he also adapted Julius Wilhelm and Paul Frank's German original as the libretto for the lavish American musical LOUIE THE FOURTEENTH.
Wimperis provided musical burlesques and lyrics for THE FOLLIES during its period in London, scored two of his most memorable song hits with 'Gilbert the Filbert' and 'I'11 Make a Man of You' in THE PASSING SHOW (1914) and contributed scenarios, scenes and song-words to a large number of other revues. He also put out a number of plays, most of which were adaptations from French or German originals."
- British Musical Theatre
“Herman Darewski was born in Russia but came to England to conduct at Bridlington and in various London theatres and to compose musicals and reviews (AS YOU WERE, CARMINETTA, London Paris and New York, JOY-LAND, BETTER 'OLE, OH JULIE! [with H. Sullivan Brooke], FLORA and ROSY RAPTURE (1915), with Jerome Kern no less. He worked at one time for the publishers Francis, Day & Hunter for 15 years. After the First World War Herman had a brief spell as a publisher himself before turning to conducting of light music."
- Classical MusicWeb
“A gentleman farmer with a love of Edwardian and early Twentieth Century music has created a home industry of preserving early Musical and Revue scores as recorded on 78 and cylinder, the latter of which he is certainly a specialist. It is an impressive list of shows that Dominic Combe has digitalised and issued on Compact Disc. Not only is it the recordings but the lovingly created books that attach.
Early theatre recordings abound in Great Britain, more so than in the United States where it took them some time to start recording original cast material. And so, many early scores are available to be heard. But what Dominic discovered when he started assembling these scores was that often latter day British 78 and cylinder record collectors turned their noses up on recordings of dance music or covers and ‘best of’ or ‘gems’ making them hard to find. And, it is those recordings which can often contain songs not otherwise recorded. He has built strong connections with other collectors willing to lend material to make each issue as complete as possible.
Modern equipment and an aptitude for perfection have helped Dominic ‘clean up’ old 78 and cylinder records to deliver a sound quality that can be stunning. The booklets are produced with as much care by using original theatre programmes or magazines such as PLAY PICTORIAL and MUSIC FOR ALL so that the listener can get a good idea of how the show looked as well as to see the unique art work used to advertise the show back then.
Dominic has issued over fifty of these gems and still has titles either being completed or awaiting to be started on. The label is called PALAEOPHONICS.”
- y phayward, OVERTURES: The Bunnet-Muir Musical Theatre Archive Trust, 10 July, 2017