The first stage to describe itself as a musical comedy was In Town (1892), and in less than a century the musical comedy has claimed a very secure place in the English-speaking theatrical tradition. With the development of the integrated American musical of Rodgers and Hammerstein and the singspiel of Brecht, the musical play has evolved considerably since the days of romantic operetta and Gay Nineties' shows. In spite of the occasional revival born of nostalgia, today's theatre scholars and performers are separated from the earliest musical comedies by an ever-widening gap of time and style. Even the most renowned hit shows of Gershwin, Porter and Coward are remembered today for their ever-popular songs, not for their total impact as productions. With few exceptions, the Edwardian musical comedies are forgotten although their stars, production numbers, sets, costumes and posters remain forever associated with the society and the theatres which produced them. Everyone remotely interested in the theatre knows about the Gaiety Theatre and the legendary shows produced there. Few, however, could say with authority what IA Gaiety Girl is about and whether or not it is a good or amusing show. Even the best intended nostalgic revival of an old musical may be a failure because the director and cast are too far removed from the requisite production style of such a piece, and their only solution is to "send up" the material.