in the era of Edwardian musical comedy, which was later filmed. To Hell with Hedda (1947) is a collection of short stories. In 1948, the collaborators had begun work on another book, You Were There, when Simon suddenly died, aged 44. Brahms completed the work, which she described as "less a novel than an out-of-date newsreel", covering the period from the death of Queen Victoria to 1928. Reviewing the book, Lionel Hale wrote, "The vivacity of this raffish chronicle is unflagging." Collaborations with S J Simon 1937 A Bullet in the Ballet. London: Michael Joseph. OCLC 752997851 1938 Casino for Sale. London: Michael Joseph. OCLC 558706784. (Published in America as Murder à la Stroganoff. New York: Doubleday, Doran. 1938. OCLC 11309700) 1939 The Elephant is White. London: Michael Joseph. OCLC 558706826 1940 Envoy on Excursion. London: Michael Joseph. OCLC 154388199 1940 Don't, Mr. Disraeli!. London: Michael Joseph. OCLC 462681016 1941 No Bed for Bacon. London: Michael Joseph. OCLC 558706853 1944 No Nightingales. London: Michael Joseph. OCLC 558706895 1945 Six Curtains for Stroganova. London: Michael Joseph. OCLC 9495601. (Published in America as Six Curtains for Natasha. Philadelphia: J. B. Lippincott. 1946. OCLC 1040925) 1946 Trottie True. London: Michael Joseph. OCLC 475946887 1947 To Hell with Hedda! and other stories. London: Michael Joseph. OCLC 8298701 1950 You Were There – Eat, drink, and be merry, for yesterday you died. London: Michael Joseph. OCLC 154216656 Brahms and Sherrin After Simon's death, Brahms was sure that she never wished to collaborate with any other writer. Her solo works from this period were A Seat at the Ballet (1951) a guide for newcomers, and a melodramatic romantic novel, Away Went Polly (1952), of which the critic Julian Symons wrote, "Miss Brahms is perhaps aiming at elegant sophistication; she achieves more often the ecstatically thrilled note of a saleswoman in a high-class dress shop." She expanded her range as a critic to include opera and drama as well as ballet. In 1954, Brahms received a letter from the young Ned Sherrin asking her permission to adapt No Bed for Bacon as a stage musical. Her first reaction was to ring him to prevent him from going any further, but his voice "sounded so young and so nice" that Brahms gave in. She agreed to collaborate with Sherrin on the adaptation. It was well-reviewed, but was not a box-office success. Nonetheless, in Sherrin's words, "it laid the