;Act I The owner of a struggling circus, Marmaduke Bunn, has severe money troubles. In desperation, he has an accumulator bet on all the horse-races of the day, and when his fancies all romp home he is thrilled by the size of his winnings. A French girl, Liane de Rose, tries to teach Bunn some of the complications of her language. Meanwhile, Tillie Runstead, the star of the circus, is in love with her admirer Peter Carey, a rich young polo player, but is worried because to her dismay her beau's interest appears to be veering towards the circus's dancer Ada Eve. ;Act II Tillie makes good use of Ada's cloak and thus catches out her wandering lover. Sadly for Marmaduke Bunn, he finds he has made a mistake about the name of the winning horse in the day's last race, so he has won nothing, after all.
Songs
Tillie sings the title song "Houp La!", as well as "Pretty Baby" and "The Fool of the Family", and with Peter she sings the duets "You Can't Love as I Do" and "I've Saved all My Loving for You". Liane de Rose has the comic song "L'Amour est Bon". At least four songs from the show were recorded. "Oh! How She Could Yacki Hacki Wicki Wacki Woo", an interpolated "Hawaiian" number by Albert von Tilzer, was sung in the 1916–1917 London production by Ida Adams. With a female choir and the St. Martin's Theatre Orchestra conducted by James Sale, Adams recorded the song for the His Master's Voice label at the Gramophone Company's studios at Hayes on 11 January 1917. On the same day, she recorded with Gertie Millar and Nat D. Ayer the trio "Wonderful Girl, Wonderful Boy, Wonderful Time", a song from the show by Paul Rubens, while Millar and Ayer recorded their two duets from the show.
Reception and aftermath
The play was well-received, and shared an issue of The Play Pictorial with Potash & Perlmutter in Society, but it failed to achieve a long run. It had its 100th performance in February 1917 and closed a week later. Cochran later presented it in Manchester. He wrote of Houp La! in The Secrets of a Showman : "I had engaged Gertie Millar, George Graves, Ida Adams, Nat D. Ayer, Hugh E. Wright, a French actress new to London, Madeline Choiseuille – and perhaps the prettiest collection of girls ever seen on any stage in the world." He also noted that Binnie Hale had "got her first chance" in Houp-La, as Ida Adams's understudy, but that she had a "harassing debut" because Adams, having insisted on paying for her own clothes, had also stipulated that no understudy should wear them. Reviewing the premiere, the critic of The Observer wrote: Of the provincial production, Neville Cardus wrote in The Manchester Guardian that the music "in its impudent rhythms, adapted from the music hall, and immensely free use of the orchestra, is characteristic of , who has displayed more instinct for the needs of popular music than any of our native musicians." Almost sixty years later, in 1975, a critic noted that "Houp La... did a lot towards elevating the chorus girl to something more than a grinning background to the stars." In 1977, a member of the 1916 cast recalled in The Listener: "There was a wonderful American woman named Ida Adams in the cast. She was spectacular! They used to keep some staff on at the bank every night, so that she could put all her jewellery back after the show."
