Zig-Zag!
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Zig-Zag!: A West End Wartime Spectacle
"Zig-Zag!" was a dazzling revue that lit up London’s West End during World War I, opening at the London Hippodrome on January 31, 1917, and running for an impressive 648 performances until July 27, 1918. Devised by Albert de Courville, Wal Pink, and George Arnold, with music by Dave Stamper, lyrics by Gene Buck, and additional songs by George M. Cohan, it offered a kaleidoscope of comedy, music, and dance. Starring George Robey, Daphne Pollard, and Shirley Kellogg, the show thrived amid wartime demand for escapism, blending vaudeville flair with topical sketches. Its success marked it as a standout in a golden era of revues, reflecting London’s resilience and appetite for joy in dark times.
Origins and Creative Spark
Born from the creative trio of de Courville, Pink, and Arnold, "Zig-Zag!" was a response to the public’s craving for light entertainment as the war dragged on. Stamper’s score, orchestrated by Julian Jones, leaned on lively American ragtime, while Buck’s lyrics added wit, with Cohan’s patriotic tunes like “Over There” nodding to the U.S. entry into the conflict in 1917. The Hippodrome, a cavernous venue known for spectacle, hosted this revue as part of a wave of wartime hits like *Chu Chin Chow*. Its zigzagging structure loose, episodic sketches mirrored its title, offering variety to keep audiences hooked night after night.
The Cast and Performances
George Robey, the “Prime Minister of Mirth,” headlined as a bumbling everyman, famously switching mid-show from a drunken gentleman to a naive Yorkshireman after sensing audience apathy a pivot that became a highlight. Daphne Pollard, a pint-sized dynamo, played “She of the Tireless Tongue” opposite Robey’s “Prehistoric Man” sketch, while Shirley Kellogg brought glamour and vocals to numbers like “England, My England.” Cicely Debenham, Marie Spink, and Bertram Wallis rounded out a stellar ensemble, their chemistry fueling the revue’s frenetic pace. The cast’s music-hall roots shone, making "Zig-Zag!" a showcase of star power and improvisation.
West End Reception and Impact
Critics and crowds embraced "Zig-Zag!" as a tonic for wartime blues. Reviews lauded Robey’s adaptability and the show’s “ceaseless vitality,” with its 648-performance run outpacing many peers though *Chu Chin Chow* (2,235 shows) loomed larger. Opening amid air raids and rationing, it drew full houses, its topical humor like jabs at wartime shortages resonating deeply. Alongside contemporaries like *The Bing Boys Are Here* (where Robey also starred before jumping ship), it fueled a revue boom, proving theatre could thrive under pressure. Its success underscored London’s unquenchable spirit, even as bombs fell.
Legacy and Historical Echo
"Zig-Zag!" faded after 1918, lacking the lasting cultural heft of *The Maid of the Mountains* or *The Boy*. No full recordings survive, and its revue format tied to its era’s quirks resisted revival. Yet its 648-show run remains a testament to its moment, a wartime lifeline for a weary city. Robey’s career soared post-show, while Pollard and Kellogg cemented their legacies. As of 2025, "Zig-Zag!" is a cherished memory of the West End’s resilience, a zigzagging burst of joy that danced through the darkness of 1917–18, leaving echoes of laughter in Theatreland’s storied past.