The Red Mill was a huge success when it premiered in 1906, going on to tally 274 performances on its first run. It was the third such consecutive success for its composer, who had suddenly become the most prominent American associated with the operetta genre. Once again, he collaborated with Henry Blossom, who had also served as his librettist on Mademoiselle Modiste. As with virtually all of Herbert's most successful operettas, there are several hit numbers and at least one or two of outstanding quality. In this case, "Every Day Is Lady's Day With Me" and "Moonbeams" are the most memorable songs, and of the remaining 14, "The Isle of Our Dreams," "Because You're You," and "If You Love but Me" are also enduring numbers from this delightful light work.

The story is relatively unusual for an early twentieth century operetta. Two con artist Americans in Holland, Con Kidder and Kid Conner, broke and seeking the means for passage back home, come to the aid (via impersonations and other comic high jinks) of Gretchen , whose father, the burgomaster, opposes her wish to marry Captain Christian and wants her to marry the old womanizing governor instead. In the end, after the Captain gains an inheritance, she receives her father's blessing to marry him.

The aforementioned "Moonbeams" (or "Moonbeams Shining") is a lovely song set to a waltz tempo. It is the second of two duets between Gretchen and Christian, the first being another nearly-as-memorable waltz number, "The Isle of Our Dreams." It is the old governor who delivers this operetta's other big hit, "Every Day Is Lady's Day With Me", a lively, colorful song he sings just before encountering the burgomaster's sister Bertha (an old flame), whom he decides to marry, thereby inadvertently making Gretchen's marriage to Christian easier. Other numbers of distinction in The Red Mill include one by Tina, the daughter of the innkeeper who becomes a part of Con Kidder and Kid Conner's plans to aid Gretchen. Tina's "Whistle It!" is witty and colorful but requires a singer with considerable dramatic ability to bring off its giddy character to proper effect. Another strong number is a ballad sung by Bertha, the "Legend of the Mill": the darkest number in the operetta by far, it has a funereal manner that would be almost appropriate for a Wagner opera.

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