Joy Bells
Recently Updated
Introduction to "Joy Bells"
"Joy Bells" premiered in London’s West End at the London Hippodrome on March 25, 1919, running for an impressive 723 performances, closing in late 1920. Devised by Albert de Courville, this musical revue featured a score by composers H.G. Pether, Rupert Hazell, Oliver Wallace, and Harold Weeks, with additional contributions from others. Starring George Robey, Shirley Kellogg, Daphne Pollard, and Leon Errol, it delivered a vibrant mix of songs, sketches, and dance in the music hall tradition. Launched amid post-World War I optimism, its long run and star-studded cast made it a standout success, reflecting the era’s appetite for lighthearted spectacle in the West End.
The Creative Team Behind the Show
Albert de Courville, a prolific revue impresario, conceived and produced "Joy Bells," drawing on his Hippodrome hits like "Zig-Zag!" The score blended talents: H.G. Pether, Rupert Hazell, Oliver Wallace, and Harold Weeks composed key numbers, with Julian Jones as musical director weaving the tunes together. George Robey, a comedy giant, headlined alongside Shirley Kellogg’s vocal dazzle, Daphne Pollard’s charm, and Leon Errol’s slapstick flair. Performers like Phyllis Bedells and Anita Elson rounded out the ensemble, while the production’s lavish staging hallmark of the Hippodrome came courtesy of de Courville’s knack for theatrical extravagance, cementing its place in London’s revue legacy.
A Festive Revue of Song and Dance
"Joy Bells" unfolds as a series of loosely connected sketches and musical numbers, celebrating peace after the Great War. Highlights include Robey’s comedic turns possibly his signature “Mayor of Mudcumdyke” and Kellogg’s soaring renditions like “Wishing for You.” The plot, typical of revues, is a threadbare excuse for variety: soldiers swap khaki for civilian life ("Goodbye, Khaki"), lovers pine ("My Cushion Girl"), and a jazzy ball unfolds ("Operatic Jazzing Ball"). Songs like “Joy Bells” and “Oh, You Wonderful Bird” lift spirits, while dance routines potentially featuring Bedells’ ballet add flair. It’s a buoyant, plot-light romp designed to entertain, not enlighten, ending in a cheerful crescendo of music hall glee.
Performance and Reception
Opening in spring 1919, "Joy Bells" tapped into a war-weary London craving escapism, running 723 performances among the Hippodrome’s longest. Critics likely praised Robey’s crowd-pleasing antics and the score’s catchy verve, though specific reviews are scarce. Audiences flocked to see Kellogg and Pollard, with Errol’s physical comedy a draw, per the era’s taste for variety stars. Its success rivaled contemporaries like "The Bing Boys," reflecting the revue boom post-Armistice. The Hippodrome’s spectacle think dazzling costumes and a 60-strong chorus ensured its appeal, sustaining a nearly two-year reign as a West End favorite, bolstered by its joyous tone and stellar lineup.
Legacy in West End Theatre
"Joy Bells" epitomized the post-war revue craze, its 723 performances outpacing many peers and cementing the Hippodrome’s status as London’s variety hub. It bridged Victorian music hall and the slicker 1920s shows, influencing later revues with its star-driven formula. Robey’s fame soared, while Kellogg and Pollard’s turns foreshadowed the West End’s shift to glamour. Though no cast recording survives, its songbook blending jazz and sentiment echoed in the era’s culture. Rarely revived, it remains a snapshot of 1919’s optimism, a joyful clang in the West End’s history, rung out by a nation ready to dance again.