In the development and production of the musical, efforts were made to create an authentic depiction of Japanese culture through stage and costume design and plot elements.
In the mid-19th century, Japan became fashionable in Europe due to expanded import of Japanese art, decor and goods to the continent; European countries, including United Kingdom, fell to a Japonisme "craze".
[3] In the 1990s, concern for authenticity was important in designing Edwardian musical comedies set in East Asia, like The Cingalee (Sri Lanka), The Blue Moon (India), San Toy, A Chinese Honeymoon (China) and The Geisha (Japan).
The Mousmé continued this concern of musicals in depicting foreign cultures as authentically as practicable in an effort to serve as a "virtual travel" for the British audience.
[7] The Mousmé had a book written by Alexander M. Thompson and Robert Courtneidge, with lyrics by Arthur Wimperis and Percy Greenbank and music by Lionel Monckton and Howard Talbot.
[3] To achieve a realistic image of Japan, Courtneidge visited the country to study the culture, mannerisms and dining customs to include in the production; this was remarked on in both the London première programme and in promotional text in the monthly magazine Playgoer and Society Illustrated.
Zoe Kincaid Penlington criticised it in The Far East, saying that "a superficial acquaintance with real Japan would enable one to see how hopeless was the interpretation of local colour.