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The story concerns a former chorus girl at the Casino Theatre in New York, who flees to Cairo under an assumed name to escape amorous advances of an admirer.
It opened at the Casino Theatre in New York City in and had a run in the same year at the Shaftesbury Theatre in the West End of London before having a Broadway revival in The Casino Girl was billed as the twin sister of The Belle of New York  and was commissioned for the Casino Theatre in New York as a vehicle for Mabelle Gilman with a cast that included Virginia Earle in a breeches role as Percy, Adele Ritchie ,  Lotta Faust  and Sam Bernard as Pilsener.
It ran at the Casino from 19 March to 9 June for a run of 51 performances and was revived at the same theatre on 6 August for 40 performances before going on a tour of the United States.
Smith  and Arthur Nevin. The show was mounted at the Shaftesbury Theatre in London from 11 July to 22 January for a run of performances, again with Gilman in the title role.
The London production then undertook a tour of the British provinces in —, produced by Ben Greet , with a cast led by Isa Bowman as Laura Lee and Gabrielle Ray as Dolly Twinkle.
Laura Lee, a former chorus girl from the Casino Theatre in New York, attempts to escape the amorous advances of Percy, an English earl, by going to Cairo in Egypt where she sets herself up as Mdlle.
Estelle, a French milliner. Percy arrives in Egypt in pursuit of her. Laura Lee endures complications involving a comic Pasha and some clownish thieves before she realises that she loves Percy in return, and the two are united.
After a rewrite for the London production, the Khedive became the Pasha, and Percy became a New York doctor. The review in The New York Times noted the show's length: "When at Virginia Earle said to Sam Bernard, 'Look here, old man, I'm tired of all this nonsense', a large part of the great audience that packed the theatre quietly sent up an echoing sentiment.
Virginia Earle came in for the most praise although Mabelle Gilman was also given compliments. The unnamed reviewer complimented both of them in the duet "How Actresses Are Made".
In addition to praising the other leads, the reviewer said that composers Cook and McConnell had written good songs that will "improve upon acquaintance.
The critic thought the book "most efficient" and in a "clever and satirical vein" though not up to the standard set by W. Gilbert due to its "heavy hand.
Some London critics liked the libretto, which they found full of "pleasant jokes and business" and called the lyrics "for the most part really humorous in idea and execution".