being male lead and playing second fiddle to Wong or other actresses such as Chan Pei Mui (陳皮梅), with more experience and more well-known, for another few years before venturing out on her own as male lead in many all-female troupes (小飛紅-太平艷影劇團/譚蘭卿-梅花影劇團) in "rooftop theatres". Rooftop theatres were for all-female troupes since the time of Lee Suet Fong (李雪芳) who formed the all-female troupe (「群芳艷影」) which she left when married in 1923. Lee basically set a bar for all female leads that only Fong Yim Fun had come close in a century. (Fong, a female lead since 16, performed with Lee at some point, was inspired and created her own vocal style from just sharing the stage.) Since the first top four all-female troupes, female leads became less noteworthy as the actresses in male lead roles. Male and female performers were not often in same troupe until after Japan took Guangdong. Reputation of all-female troupe was not as good as that of all-male troupe. Yam mentioned that male leads were called sissy (sing like a girl and walk like a girl) in the street while the jingles below reflect the sentiments about those troupes. 《鄉下佬買戲》：「講到鰟鱓女班經已做到怕，有文無武而且有鱓仲老過我阿媽。」 香港報章：「女優薪金微賤，當可以減班主之負擔。」 Yam took after a male performer to be "no sissy", by just being in the audience, and became known as the female version of Kwai Ming Yeung, both AAA and vocal, before 1933, the year Ma Sze Tsang hired Tam Lan Hing to perform with him in Hong Kong. Theatres in Macau Many troupes with male performers followed her first own (Chinese:「鏡花影女劇團」, 1935-1942) with Tsui Yan Sam () as co-star not long since Yam was initially hired to perform in a temporary theatre (collapsed after 5 days) built in greyhound racing stadium. (Now known as Canidrome, was special to Yam who attended the grand opening in 1963 with Loong, Pak Yin and others.) Co-stars also included other actresses () at times as and when Yam saw fit. Co-stars had always been replaceable to her. One walked out the door, another one (but two for Loong in 2013) would be in her arms already. Yam had quite a fan base of mostly married ladies right out of the gate, including the wife of Mr. Bat1 Leoi5 Gim6 () who hired Yam to perform in 1935. Theatres in Macau her all-female troupe performed included the Ching Ping Theatre at Travessa do Auto Novo (). To reflect