Chu Chin Chow

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Chu Chin Chow: A West End Wartime Sensation

"Chu Chin Chow," a musical comedy written, produced, and directed by Oscar Asche with music by Frederic Norton, premiered at His Majesty’s Theatre in London’s West End on August 31, 1916. Based loosely on "Ali Baba and the Forty Thieves," it ran for an unprecedented five years, closing on July 22, 1921, after 2,238 performances a record for musicals that stood until "Salad Days" surpassed it in 1954. Opening during World War I, this lavish production offered audiences a dazzling escape with its exotic sets, catchy tunes, and a blend of pantomime and musical comedy, making it a cultural phenomenon of its era.

Origins and Inspiration

Inspired by the success of Edward Knoblock’s 1911 play "Kismet," Oscar Asche crafted "Chu Chin Chow" to capitalize on Britain’s fascination with orientalism, sparked by Diaghilev’s "Scheherazade." Asche, an Australian actor-manager, took on the role of Abu Hasan, the robber chief masquerading as the titular Chinese merchant, while his wife, Lily Brayton, played Zahrat al-Kulub, his captive spy. With a budget of £5,300 equivalent to millions today the show boasted over a dozen scene changes, live animals like camels and donkeys, and costumes by Percy Anderson, reflecting the era’s taste for Eastern extravagance.

The West End Run

Launching amid the Battle of the Somme, "Chu Chin Chow" became a haven for soldiers on leave, drawn by its chorus of scantily clad slave girls—a feature that briefly irked the Lord Chamberlain, prompting temporary modesty adjustments. The cast, including Courtice Pounds as Ali Baba, delivered a tale of deception and triumph: Abu Hasan infiltrates Kasim Baba’s palace, only to be undone by Zahrat’s revenge with boiling oil. The production’s scale featuring snakes, poultry, and a huge ensemble matched its appeal, drawing nearly three million attendees and sustaining London’s theater spirit through wartime.

Musical and Theatrical Highlights

Frederic Norton’s score mixed Eastern flair with musical comedy charm, producing hits like "The Cobbler’s Song," a bass-baritone staple for decades, and "Any Time’s Kissing Time," a romantic duet that lingered in ballad repertoires. Songs such as "We Are the Robbers of the Woods" and "I Am Chu Chin Chow" energized the spectacle, while the show’s dance routines and innovative lighting by Asche heightened its allure. Though critics like "The Era" found the music unremarkable, its accessibility and the production’s visual splendor ensured its popularity.

Global Impact and Adaptations

Beyond the West End, "Chu Chin Chow" toured America and Australia, with a 1917 Broadway run starring Tyrone Power lasting 208 performances. A 1923 silent film and a 1934 talkie, featuring George Robey and Anna May Wong, adapted the story, though neither matched the stage’s success. Revivals followed, including a 1940 wartime return to London with Lyn Harding and a 1953 ice-rink version at Wembley’s Empire Pool. A 2008 semi-staged production at the Finborough Theatre reaffirmed its niche appeal, though it never regained its original dominance.

Legacy and Cultural Significance

"Chu Chin Chow" epitomized wartime escapism, outshining contemporaries like "The Bing Boys Are Here" and "The Maid of the Mountains" with its sheer scale and longevity. Its record-breaking run marked a theatrical milestone, reflecting a public craving for light amidst darkness. While its orientalist lens and dated style limit modern revivals, its influence on spectacle-driven musicals endures. As of March 2025, it remains a historical gem lavish, controversial, and a testament to the West End’s resilience during one of Britain’s grimmest chapters.