Twenty to One
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Twenty to One: A West End Racing Satire
"Twenty to One" premiered in London’s West End at the London Coliseum on August 6, 1935, a musical comedy that ran for 179 performances, closing in January 1936. Written by Louis MacNeice with music by Arthur Young and lyrics by Clifford Grey, it was produced by Oswald Stoll and directed by Jack Hulbert, who also starred alongside Jack Buchanan. This lighthearted romp, born from a revue sketch by Ronald Jeans, poked fun at the racing world and featured Buchanan as Bill Frame, a suave bookie. Though not a record-breaker, its six-month run showcased Edwardian-era wit and a notable cast, leaving a modest mark amid a bustling 1930s theatre scene dominated by operettas and revues.
A Bookie’s Bet on Love and Luck
The plot centers on Bill Frame, a charismatic bookmaker facing ruin after a disastrous Derby bet leaves him broke. Desperate, he joins forces with Jimmy Nash, a dim-witted ex-jockey turned tipster, to rig races and dodge creditors. Enter Lady Mary, a sharp heiress who sees through Frame’s charm but falls for him anyway, sparking a romance amid the chaos. The villainous Sir Horace Waters plots to seize Frame’s turf, only to be outwitted when Nash’s bumbling tips accidentally win big. A climactic race and a farcical wedding cap this satire of gambling and greed, blending slapstick with a nod to Britain’s racing obsession, all wrapped in a breezy, improbable resolution.
A Score of Edwardian Cheer
Arthur Young’s music, paired with Clifford Grey’s lyrics, delivered a sprightly score with numbers like “Twenty to One,” “Racing Mad,” and “The Tipster’s Lament,” performed by a live pit orchestra under Young’s baton. Buchanan’s smooth crooning shone in romantic duets, while Leslie Henson’s comic patter songs like “I’ve Got a System” stole laughs. The tunes, though catchy, didn’t outlast the show, reflecting the era’s taste for disposable revue fare over enduring hits. Critics noted its “pleasant” melodies, but the lack of a cast recording and its revue roots kept it from rivaling heavier 1930s scores like those of Noël Coward or Ivor Novello.
A Cast of Comic and Crooning Stars
Jack Buchanan led as Bill Frame, his debonair flair anchoring the show, fresh from Hollywood’s "Brewster’s Millions." Jack Hulbert doubled as director and Jimmy Nash, bringing physical comedy to the ex-jockey’s antics. Evelyn Laye played Lady Mary with poised charm, while Leslie Henson’s Sir Horace Waters unleashed his trademark mugging eyes popping, voice booming earning nightly applause. Supporting players like Louise Browne and Fred Emney added zest to the ensemble, their revue-honed skills fitting the show’s quicksilver pace. Hulbert’s staging leaned on Henson’s clowning and Buchanan’s polish, though the cast couldn’t fully lift a script some found “thin.”
A Modest West End Footprint
Emerging from Jeans’ revue "Full House," "Twenty to One" rode Buchanan’s star power and Henson’s draw into a respectable 179-performance run, outpacing flops like "Rise and Shine" but dwarfed by giants like "Me and My Girl" (1,646 performances from 1937). Its Coliseum debut London’s largest theatre then promised grandeur, yet mixed reviews (“amusing but slight,” per The Times) and a crowded season curtailed its stay. No Broadway transfer or revival followed, though its racing satire echoed in later works. As of March 2025, it’s a faded Edwardian curio fun while it lasted, but no match for the West End’s enduring titans.