Noel Toy was a pioneer of Chinese American burlesque, known for her stunning fan and bubble dances that captivated audiences from San Francisco to New York. Born Ngum Yee Hom in 1918, she grew up in a working-class family in Inverness, California. While she initially pursued journalism at UC Berkeley, fate had other plans when she was discovered at the 1939 World’s Fair on Treasure Island. Her entry into the world of burlesque was unconventional—what began as a brief appearance in a cultural showcase quickly transformed into a full-fledged career that would make her one of the most recognizable figures in Chinese American nightlife.
A Fan Dancer
Her rise to fame began at The Forbidden City, a nightclub in San Francisco that featured Asian American performers in glamorous productions. Noel Toy became its star attraction, dazzling audiences with her feather fan and bubble dances—performances that drew comparisons to Sally Rand, the burlesque legend. Yet Toy was no mere imitator. She brought a sharp sense of humor and independence to her routines, refusing to be boxed into stereotypes. Her act blended sensuality with a theatrical flair, making her one of the first (but not the only) Chinese American burlesque dancers to gain national recognition.
As her popularity grew, Toy took her talents to the East Coast, headlining clubs like Leon and Eddie’s, Stork Club, and Latin Quarter in New York. Her performances were known for their dramatic presentation—at times emerging from a Tahitian grass hut-style set piece, using layered illusions of nudity to command attention while maintaining an air of mystery. She was not just a dancer but an entertainer who infused her routines with wit and rebellion, challenging societal perceptions of Asian women in entertainment.
Noel Toy in Film
Beyond burlesque, Noel Toy sought opportunities in film and television. Though she faced industry limitations, she made memorable appearances in Big Trouble in Little China, M*A*S*H, and other productions. While she never achieved mainstream movie stardom, her presence on-screen was enough to remind audiences of her remarkable talent and pioneering spirit.
Her Marriage
She married actor Carleton Young in 1945, and together they remained a fixture in Hollywood circles.
Burglary
Noel was robbed of her jewelry box by a thief who ransacked her apartment. She valued the jewelry at $2,500.
Her Legacy
Toy’s legacy extends beyond her performances—she broke barriers for Asian American entertainers at a time when opportunities were scarce and representation was limited. She rejected the submissive roles often imposed upon Asian women in Western entertainment, instead crafting an image of self-assurance and artistic autonomy. Her success helped open doors for future generations of performers seeking to challenge stereotypes and make their mark in burlesque and beyond.
Even today, Noel Toy’s contributions to burlesque remain an essential part of entertainment history. Her performances embodied a fusion of tradition, sensuality, and resistance, proving that burlesque was more than just an art form—it was a platform for self-expression and defiance against societal norms. In the glittering world of feathered fans and sequined costumes, Noel Toy danced her way into history, leaving behind a legacy as vibrant as the performances she once brought to life.
Noel Toy in “Chinese Striptease”
Challenges in Her Career
Noel Toy faced several challenges throughout her career, many of which stemmed from societal attitudes toward Asian American performers in the mid-20th century. One of the biggest obstacles was racial stereotyping—she was often expected to conform to exoticized portrayals of Asian women, limiting the roles and opportunities available to her in mainstream entertainment.
Her Court Trial
In November 1942, she was arrested for indecent exposure and taken to court.
By December 1942, descriptions of her fan dance in the Broadway show Wine, Women and Song were thrown across the front page headlines of the New York newspapers. She was nude other than her shoes and one piece of fabric covering her pubic area. She was described as “obscene, immoral and impure.” Margie Hart also performed a nearly nude dance and also appeared in court. Hart’s defense attorney argued Hart was wearing a nude leotard. Samuel Funt, company manager, and Herman Shapiro, stage manager, were also brought to trial.
Unfortunately, the jury found Noel Toy and the others guilty. TIME Magazine quoted Toy’s defense while on the stand,
“When I am dancing, the fans fly apart. I cannot help that.” (December 14, 1942)
Despite her success in burlesque, Toy struggled to transition into film and television. Hollywood had few roles for Asian American actresses beyond submissive or villainous characters, and she was frequently cast in minor, uncredited parts. Even in her later years, she was often relegated to background roles, such as Korean villagers in M*A*S*H.
Another challenge was the perception of burlesque as scandalous or lowbrow entertainment. While Toy was a skilled performer, burlesque was not always respected as a legitimate art form, making it difficult for her to gain broader recognition. She had to navigate the fine line between sensuality and respectability, particularly as a Chinese American woman in an industry that was not always welcoming.
She also faced family opposition early in her career. When she first entered burlesque, her mother was reportedly shocked and disapproved of her choice. However, over time, her family came to accept her work, though it was not an easy transition.
Additionally, Toy had to contend with changing entertainment trends. As burlesque declined in popularity, opportunities for performers like her became scarcer. While she continued to work in film and television, she never achieved the same level of fame outside of burlesque.
Despite these challenges, Noel Toy remained a trailblazer, breaking barriers for Asian American entertainers and proving that burlesque could be a platform for self-expression and defiance against societal norms. Her legacy continues to inspire performers today.
Her Legacy Continues
Noel Toy wasn’t just a performer—she was a trailblazer who redefined what it meant to be an Asian American entertainer in mid-century nightlife. From her dazzling fan dances to her sharp-witted stage presence, she carved a space for herself in an industry that often overlooked performers like her. Even in her later years, she remained a symbol of resilience and artistry. Noel Toy passed away on December 24, 2003, at the age of 84, following a stroke. Though her life came to an end, her legacy as a pioneer and icon continues to inspire. In every flick of a fan and every knowing smile, Noel Toy’s impact endures
Sources
- Wikipedia. “Noel Toy.” https://en.wikipedia.org/wiki/Noel_Toy
- Chuck Squatriglia. “Noel Toy — famed exotic dancer of ’40.” SFGate. https://www.sfgate.com/bayarea/article/noel-toy-famed-exotic-dancer-of-40s-2808279.php
- Burlesque Hall of Fame. “Noel Toy.” https://burlesquehall.com/noeltoy/
- TIME Magazine. “The Theater: Bumped Off.” https://time.com/archive/6771676/the-theater-bumped-off/
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