A Framed Group of 1930s Theatrical Photographs – Chu Chin Chow, Birmingham 1935

Marjorie Tarsh as Zahrat in  Chu Chin Chow, Birmingham Operatic Society, 1935

An original framed photographic record of Marjorie Tarsh appearing as Zahrat in Birmingham Operatic Society’s 1935 production of Chu Chin Chow.

The display comprises six original black-and-white photographs mounted together, showing Tarsh both in individual costume studies and in scenes from the production. The mount is titled “Marjorie Tarsh as Zahrat”, with the name Harvey Thomas below and a photographic studio credit at the lower right for Sparkhill, Birmingham.

Contemporary newspaper reports allow the photographs to be placed firmly within their original theatrical context. In March 1935 the Birmingham press reported on Birmingham Operatic Society’s production of Chu Chin Chow, Oscar Asche and Frederic Norton’s spectacular musical play. The production was extensively reported locally, providing contemporary evidence for the performance represented by the photographs.

First produced at His Majesty’s Theatre, London, in 1916, Chu Chin Chow had proved an extraordinary theatrical success. Written and produced by Oscar Asche, with music by Frederic Norton, it was based loosely upon the story of Ali Baba and the Forty Thieves and became particularly noted for its elaborate sets, large cast and richly conceived costumes. It continued to be revived by professional and amateur operatic companies long after its original London run.

The photographs record Marjorie Tarsh in the role of Zahrat, and show something of the scale and visual character of the Birmingham production, including elaborate costumes and several group and dramatic scenes.

Further contemporary newspaper research provides some biographical information about Tarsh herself. In July 1935, only a few months after the production, the Birmingham Daily Gazette reported her wedding. The report identifies Miss Marjorie Tarsh and records her marriage to Mr Joseph Samuel, providing independent contemporary confirmation of her identity and placing her within Birmingham society at precisely the period represented by the photographs.

Tarsh came from Birmingham’s Jewish community, as did her husband, and the contemporary wedding report records the marriage within that community. This provides an additional piece of social history to a display which otherwise survives principally as a record of a local theatrical production.

The survival of the photographs together on their original titled mount is particularly useful, retaining the identification of both performer and character rather than leaving the individuals in the photographs anonymous.

The photographs remain in their original arrangement within a simple black frame. There is staining, discolouration, minor losses and general age-related wear to the mount and wear to the frame, all consistent with age and clearly visible in the photographs.

Measuring: 78 cm wide 55 cm tell

Birmingham, 1935.