wrote, "I will not tell you that the laughter completely escapes vulgarity, but the important thing is to have fun, and frankly we were very amused with the frenetic comings and goings. Quiproquos go round and round … misunderstandings succeed surprises". The Journal officiel de la République française commented, "Really, if we were to believe the vaudevillists, we would have a strange idea of Parisian households. There are only conjugal misfortunes, marriage contracts hacked about, perpetual distrust, shady permutations of husbands and wives, an entire structure of betrayal and lies only just propped up, and collapsing in the last act amid the bursts of laughter from the audience." The Paris correspondent of the London paper The Era found the play "very laughable … highly amusing" and the third act in particular "a marvel of merriment". The critic wondered whether the piece could be staged in any other city than Paris "so thinly-veiled is the impropriety that renders its incidents amusing", but by October the play was running successfully in Brussels. Adaptations The play was adapted into English by James Albery as The Pink Dominos. It opened in London in March 1877, starring Charles Wyndham and ran for 555 performances. The same adaptation was given on Broadway between August and November 1877 starring Charles F. Coghlan. At the same time the original French version was running at New York's Théâtre-Français: The Boston Daily Globe found it "exceedingly brisk and amusing … far brighter and more natural than its English version". The Albery version was revived in London by Charles Hawtrey in 1889. An Italian adaptation of the original, Un domino color di rosa, was presented at the Teatro San Genesio in Rome in 2019 by the Compagnia Isigold. In 1896 an operatic version, Der Opernball, was premiered in Vienna. The libretto was adapted from Delacour and Hennequin's original by Viktor Léon and Heinrich von Waldberg, and the music was by Richard Heuberger. In his history of operetta (2003) Richard Traubner describes Der Opernball as the final work of the golden age of Viennese operetta. In 1914 the play was the basis of a new musical comedy, To-Night's the Night, with music by Paul Rubens and Jerome Kern, with lyrics by Percy Greenbank and Rubens, and a book adapted by Fred Thompson. It was first seen on Broadway, where it ran for 155 performances. The same production opened in London in 1915,