Hing (譚蘭卿) and Tang Pik Wan (鄧碧雲). With the 1942/3 financial help from Mr. Ho Yin, father of Edmund Ho, she formed a new opera troupe called New Voice Opera Troupe (「新聲劇團」) with manager (徐時), librettists (徐若呆/歐陽儉) and the following performers who joined the troupe one at a time:- Chan Yim Nung (陳艷儂), the Daan (Chinese: 旦) Au Yeung Kim (歐陽儉), the Cau (Chinese: 丑) Lang Chi Bak (靚次伯), the Zing (Chinese: 淨) Yam Bing Yee (任冰兒) Bak Sheut Sin (白雪仙) Dream of Red Chamber in Macau was one of many highlights in her career since being the last all-female troupe standing. The trend of huge production cost never recoverable from no matter how good box-office record as a result also caused Yam headache. Yam was known since very young as the single financial source of immediate family, extended families, big spender co-star and associated families. Yam had a reputation of being very generous, footing the bills when her troupe was in trouble. Chan Lap Ban told in 1989 on camera the old days when they performed in villages (both age 20 or so). Investors failed to pay for their performance. Yam as the patriarch actually provided for the troupe to be all home safe, with her personal gold collection. Since leaving Macau, there was no more Macau financing but the spending spree continued. A "too good to be just student" of Tang allowing the free use of his story-on-air saved Yam/Lang/Au Yeung from ("大包細") financial ruin, same daily pay for five of the six pillars, ignoring the gigantic gap in pay (market) grade among them. (Said to be HK$200 per day of performance while ticket price was HK$6 only.) That's the back to grass-root, getting off the high horse, episode before New Voice Opera Troupe ceased to exist. Spending spree so resulted made it necessary for Yam to rely heavily on film roles for income and a real estate portfolio properly managed by reliable personnel. Yam's The Marriage of Tang Bohu, renamed in 1974 as The Marriage of Three Smiles (三笑姻緣), came to the rescue in 1956 when the Tang flub started on day one, let alone no more than 6 rows of audience in 1956 the world was never informed. The flubbing of Tang continued until the 1957 Di Nü Hua in which Yam as male lead played the more important role in Tang's work for the first