"LI B RARY OF THE UNIVERSITY Of ILLINOIS 791.3 HI IK t *— r- Return this book on or before the Latest Date stamped below. Theft, mutilation, and underlining of books are reasons for disciplinary action and may result in dismissal from the University University of Illinois Library n^n 1 ft *1 ' W 27-jm 1 MAR 2 9 APR APR 18 APR 5 1979 ^984 M09 m m L161— O-1096 Digitized by the Internet Archive in 2011 with funding from University of Illinois Urbana-Champaign http://www.archive.org/details/howtoputonamateuOOhack HOW TO PUT ON AN AMATEUR CIRCUS How to Put On an Amateur Circus Fred A. Hacker and Prescott W. Eames With Photographs and Sketches By the Authors CHICAGO T. S. DENISON & COMPANY Publishers COPYRIGHT, 1923 By T. S. DENISON 6? COMPANY Made in U. S. A. How to Put On an Amateur Circus 7U3 2. ^J r '119 s gK^^i ■ ^- v — INTRODUCTION INCE men and women are merely chil- dren g,rown up, this book is for the use of all boys and g,irls between the ag,es of eight and eighty. It is especially recommended to playground and club directors, managers of Junior Chau- tauquas, chairmen of school entertainments, society folk who wish to produce a pleasing, burlesque affair, and each and every one interested in amateur amuse- ments. The idea is to brin£ the circus to town at any time ; for if the regular aggregation of wonders is not in sig,ht, you can make one of your own. How to Put On an Amateur Circus prob- ably was born in the minds of its authors at the time when they gained a reputation with their first produc- tion in a barn loft. The idea stayed with them during the years in which their reputation and ability g,rew. They have put on many circuses, and their success un- doubtedly has been largely due to the fact that they have never lost sight of the juvenile principle. And in this work the needs of the boys with only a loft or a backyard at their disposal have been taken care of, as well as those of the more studied performance under a tent, in an auditorium or other enclosure. It has been soug,ht to do away entirely with the difficulty experienced by directors in &atherin& ideas, material and necessary paraphernalia. The authors have been called upon to direct cir- cuses for schools, clubs, playgrounds and similar or- I I ! 5399 ^anizations. Each time they tried to make the circus better than their preceding one. Notes and photo- graphs were kept, together with new ideas and helpful suggestions from outsiders. The entertainment herein presented is the outgrowth of all this practiced experi- ence, and was first offered in response to a request from one of the largest Chautauqua bureaus for some constructive play plan for its Junior department. From many different plans submitted the circus idea was selected. Since the construction work was to be carried on by boys and &irls it was necessary to sim- plify the directions and drawin&s. Many experiments were made with different ma- terials in the construction of animals and parapher- nalia until the most suitable, inexpensive and available were found. The drawings were carefully made and the dimensions and directions worked out so plainly that a child mi&ht readily understand them and carry on the construction with little supervision. The enter- tainment is suited to any number of participants of all a&es and sizes and can be used by boys and &irls alone or by g,rown-ups. This circus was produced successfully in 500 Chautauqua towns in twenty states during a three-year period before bein& published. It is hoped that it may be helpful to schools, clubs and all organizations and individuals looking for a novel entertainment ; that it will relieve the director of the bulk of his worries ; and that it will &ive our boys and &irls many happy hours of constructive play. The Publishers CONTENTS chapter page Introduction 5 I. In General 9 II. To the Director 11 III. To the Foreman of Construction Work 15 IV. Painting and Decorating 55 V. To the Clown and Comic Character Master 57 VI. To the Side Show Manager 61 VII. To the Clown Band Leader 69 VIII. About Grease Paints 71 IX. The Parade 75 X. Details of Performance 79 XI. Order of Performance 101 XII. The Ringmaster 103 XIII. To the Advertising and Finance Manager 107 XIV. A Model Program for Your Circus 110 CHAPTER ONE In General This book is the outgrowth of numerous amateur cir- cuses directed by the authors and their co-workers. The suc- cess of these circuses, and the frequent requests from many sources for suggestions and help in giving similar entertain- ments, have convinced the authors that there is a widespread demand for entertainments of this kind. They can be put on in a very short time, require very little practicing, allow a large number to take part, and, from the financial standpoint, are great money-makers. Every feature and stunt suggested has been actually tried out and proven successful. One of the leading Chautauqua bureaus used the plan for a season in connection with their Junior Chautauqua work on their large circuit. The next season it was used by them again on three of their circuits. One of the first local organizations to use it was the Denver, Colorado, Playground Association, which adopted the plan for their Annual Play Day. Circuses put on by home talent are by no means new. This production is out of the ordinary in that it is a burlesque circus. It is entirely a home-made affair, and the making of the animals and paraphernalia is one of the greatest pleasures that those taking part will derive from the circus. Most of the materials can be furnished by the participants. Perhaps the reason that minstrel shows, as put on by ama- teurs, are so universally successful, is that the performers realize that they are not recognizable, therefore stage fright does not have to be reckoned with. The same holds true with a burlesque circus. The circus as here outlined has three aims in view: First, to develop originality, taste, and ability for constructive rather than destructive play; second, to provide an unique entertain- ment, suited to any number of participants of varied ages; third, to make money. 9 10 HOW TO PUT ON More features are suggested than will probably be used. The effort has been to offer a variety of features so that a se- lection, pleasing to any audience and adapted to any local con- ditions, can be made. It will be noted also that great flexibility is allowed as to the manner of presentation. The authors have produced juve- nile circuses under widely varying conditions — sometimes in school auditoriums, sometimes in gymnasiums, sometimes under canvas. These varying conditions are all taken into considera- tion in the chapters which follow, so that the circus idea, as pre- sented here, may prove practical under all conditions. Seats TracK Platform 22*24 Band Performers' Entrance Figure 1 plan recommended eor a tent circus AN AMATEUR CIRCUS 11 CHAPTER TWO TO THE DIRECTOR. The circus may be given in a gymnasium, an auditorium, a theater, or in assembly rooms in schools. A large tent, if available, with a platform and ring in the center, would be ideal for the circus. Figure 1 shows the plan of a tent with proper arrangement of seats, platform and ring. A tent 80 by 120 ft. is the ideal size. A smaller one can be used by leaving out either the ring or platform. The tent and seats can be rented at a reasonable cost. Figure 2 this amateur circus tent was pitched on the school playground If a theater or auditorium is used, a roll of slat fencing, borrowed from the hardware dealer, and placed across the front of the stage, will make a fine arena for the animal acts. If a gymnasium or auditorium is not available a large hall in a school building will serve. Several large tables can be used for a stage, or two-inch planks can be placed on saw horses. Entrances and exits can be made from adjoining rooms. 12 HOW TO PUT ON Unless crowded for room, do not place side shows in the same room with the general performance. Use, if possible, halls and rooms leading to the "Big Tent," and keep audience out of the latter while side shows are showing. If the side shows take well it may be wise to delay the ring performance. The small side shows can be housed in booths, while others, such as the negro minstrels, had best be given in rooms. The side shows may also be made a part of the general performance, or they can be given in the form of a concert immediately after the general performance. In this way no extra space will need to be provided for the side shows. The circus as outlined calls for 135 participants but the number of side shows and the number of features in the ring performance may be increased or decreased, and the number of performers in the various features may also be varied to include a greater or smaller number. By having side show people take part in the ring performance the circus can be staged by seventy-five people. If only a ring performance is given, as few as forty people can stage it successfully. The ring performance will consume from one and a half to two hours. When describing the plan to participants for the first time, make clear to all the nature of the circus, emphasizing its novel and striking features. Bring out clearly the fact that no one will recognize the performers in their "get-ups" ; that making the animals and costumes is great fun; and that these unique products of their own handiwork will be theirs after the circus. The preliminary work, such as making the animals and cos- tumes, had best be completed and got out of the way, reserving for the last few days the practicing and the working up of the various stunts. It has been the experience of the authors that, with only a short time in which to work up the performance, the interest and enthusiasm are kept at high pitch, and the re- sult is a performance full of "pep" and go. Very successful circuses have been given without a single rehearsal, in cases of emergency. The director needs assistants to take charge of the various AN AMATEUR CIRCUS 13 features and groups of performers, reserving for himself the responsibility of the circus as a whole. The circus naturally divides itself into the following de- partments, each of which requires a capable person in charge, who will co-operate with the director. The Foreman of Construction Work must be a man of mechanical ability. He has charge of the construction and securing of all circus paraphernalia, such as animal frames, ring furniture, cages, floats, banners, and calliope. He has charge of stage hands and all properties, and during the per- Figure 3 "building the frames for the animals formance is boss behind the scenes, dispatching the participants at the proper time. If a manual training teacher is available he will probably be an ideal man to supervise all construction work. The Costume Maker should work in conjunction with the foreman of construction work in the making of "skins" for the animals, and with the clown and character master in the mak- ing of clown and character costumes. This department head also directs the making of the lion, bear, cubs and monkey. 14 HOW TO PUT ON The Clown and Character Master drills the clowns and characters in their stunts. His stunts will be more successful and his direction easier if he goes into the ring as a per- former himself. He then can direct the acts in a low voice, and his presence will lend confidence to the performers. He over- sees the making of costumes and the securing of properties for his acts. If he can make up his clowns and characters, so much the better. The Side Show Manager selects and instructs the per- formers for the side show features, and is responsible for the securing of side show properties and the arranging of the side show "tents." The Band Leader's first duty is the securing and proper care of the instruments. Besides working up his own part he calls and conducts the rehearsals of the band. He has oppor- tunity for some good acting, and if he is quick to grasp a sit- uation he can liven up things. The Advertising and Finance Manager is the business man of the circus. He should have charge of the securing and distributing of all advertising matter. If advertising space is to be sold on programs or on parade banners he sees to this also. He writes locals about the circus for the newspapers. He distributes tickets for sale and appoints ticket sellers for the side shows and general performance. He appoints hawkers to sell refreshments. Cash returns are made to him and he is responsible for the turning in of tickets and the paying of bills. All purchases should be made through him since it is his duty to keep expenses down and receipts up. The Parade Marshal has complete charge of the routing and arrangement of the parade. Some of the work of managing may be doubled up, one man- ager having charge of two departments. For instance, the clown and character master could also act as parade marshal. In addition to the staff assistants mentioned above, com- mittees must be appointed to drill and rehearse the various groups of performers. AN AMATEUR CIRCUS 15 CHAPTER THREE To the Foreman of Construction Work At your first meeting ask for materials and supplies that you will need, remembering to ask for more than will be needed, for many who promise enthusiastically will disappoint you. You will need at once the following tools and materials. ITEMS AMOUNTS ACTUALLY NEEDED Burlap (gunny sacks) 100 or more No. 9 fence wire or clothesline wire. . .300 feet Poultry netting (5 feet wide) 100 feet long One-by-one-inch strips of wood 200 feet Laths 50 to 75 Nails (threepenny and sixpenny) 1 pound each Carpet tacks Several boxes Wire staples (light weight) 1 pound Hammers A half-dozen Saws A crosscut and a rip Pliers (for Mire cutting) Two or more pairs Brace and two bits 3/16-inch bit, 1-inch bit Rule, yard stick or tape Several Darning needles (large) A half-dozen Cotton string One ball Boxes (wooden) A good assortment Candy pails or small barrels Several Pulp board or cardboard 12 sheets 11 x 14 inches Paint and brushes See Chapter Four Some hay or excelsior ; a bundle of newspapers ; some pieces of old rope; muslin, duck or Canton flannel. The various materials need not be new. Old pieces of poultry wire may be gathered, and odd bits of crating or box boards ripped to size. As materials are brought in, sort and pack them in boxes. Select the performers to take the parts of the Elephant, Giraffe, Gook, Ostrich, Ponies, Circus Ambulance and other fea- tures requiring construction work. Make sure that those se- lected are large enough to take part, as well as capable of 16 HOW TO PUT ON doing the work. Cut all materials to size as described later. If the boys tie up and label the stock as it is got out, much con- fusion will be avoided and time saved in assembling. The girls can be set to opening and cleaning sacks. These should then be sewed together to make strips large enough to cover the animals. This can be done on a sewing machine if one is available. With the assistance of one of the larger boys, quickly as- semble one of the large animals, explaining at the same time the reading of the drawings. With all materials cut to size, Figure 4 painting and decorating the animals and the drawings before them, the boys can easily assemble the other animals. Meanwhile the girls are assisting the costume director in the making of clown and character costumes. The boys and girls will work together in the covering, sew- ing up and painting of the animals. When covering it is best to fasten the burlap to the frames, cut and trim to fit, then sew with large needle and twine. While many more animals may be made than those sug- gested, it has been the experience of the authors that to con- AN AMATEUR CIRCUS 17 struct a few well-made animals is better than to attempt a large variety. The animals divide themselves into two groups ; those that require framework and those that do not. Those requiring framework are the Elephant, Gook, Giraffe, Ostrich, Ponies, Giant Hootus and Wompus Cat. The Elephant, Gook and Giraffe each require two men, one to form front legs and one to form hind legs, while the Ostrich and the Ponies require only one man each. The animals that are made without a framework are the Bear, Cubs, Lion and Monkey, only one man being required for each animal. The costumes for these animals are made after the pattern of a sleeping garment. In covering the first group of animals, use burlap or any coarse cloth. The second group requires strong cloth such as muslin, duck, or Canton flannel. Canton flannel is the most satisfactory. Any of these cloths can be bought in suitable colors, or the white material can be dyed the desired shades. THE ELEPHANT For the construction of the Elephant the following materials are required: Two runnel's (D and E), each 1 in. x 1 in. x 6 ft. 2 in. Two crosspieces (A and C), each 1 in. x 1 in. x 1 ft. 10 in. One curved neckpiece (B), 1 in. x 5 in. x 18 in. One upper strip (G), 1 in. x 1 in. x 3 ft. 8 in. Two braces (X), 1 in. x 1 in., length cut to fit. Wire loop (F), one piece No. 9 wire, 12 ft. long. Wire ribs (H, K and L), each 4 ft. long. Wire rib (J), 5 ft. 6 in. long. Wire back ribs (T and IT), one piece 4 ft. 6 in. long, bent V- shape. Wire ears (W), two pieces 4 ft. 6 in. long. Two semicircular pieces (M and N), each !/o in. x 9 in. x 18 in. One semicircular piece (R), % in. x 3 in. x 6 in. Three laths (O, P and Q), 26 in. long. The several pieces are designated by letters, for easy ref- erence to Figure 6. 18 HOW TO PUT ON AN AMATEUR CIRCUS 19 To assemble the Elephant, first nail crosspieces to runners as in Figure 6. Two tall persons are to carry this frame on their shoulders. Staple wire F to frame as shown. Bore three 3/16-in. holes through strip G, slip ribs H, K and L through Fill ouf with excelsior ■Staple Figure 6 assembled frame for elephant to center of wire, bind by crossing wires over, shape curves and twist ends securely to loop F. Nail the two braces X in place. Bend the back pieces T, U and J into shape and fasten in like manner. Nail neckpiece B to upper strip G at Z. Figure 7 assembled frame for baby elephant, before attaching WIRE NETTING 20 HOW TO PUT ON Nail pieces M and N together on their straight edges at right angles. Laths 0, P and Q are nailed to pieces N and R as shown. Put head in place as shown, nailing headpiece M to neckpiece B, and laths O and P to runners D and E. Cover entire frame with poultry netting to keep burlap cover from sagging, attaching to frame and ribs with staples and bits of wire. Bring netting over head and neck and press Yellow and Green Jted ■Green, Designm fied Figure 8 phantom view of elephant, showing decoration into shape. Cover the greater part of the body with a brightly colored table cloth, rug or couch cover. The remaining parts of the body and head are covered with burlap. Newspapers placed between burlap and netting will make it opaque. The trunk is made of burlap, tied with string at the lower end, and stuffed with excelsior. Make tusks of white cloth AN AMATEUR CIRCUS 21 and stuff with cotton. For the ears, bend each wire to shape, as shown in the drawing, leaving a free end about six inches long which is passed through hole on pieces and P. Cover each ear with burlap. The front operator flaps the ears by manipulating the wire ends. Sew on a bit of small rope for a tail. The operators are dressed in large, loose-legged overalls to which burlap has been sewed. Sew a wire loop in the bottom of pants legs. For painting facial expressions refer to Figure 8. A Baby Elephant may be made by reducing the dimensions. Material of the following sizes should be used : Two runners (D and E), each 3 ft. 6 in. long. Two crosspieces (A and C), each 14 in. long. One curved neck piece (B), 1 in. x 4 in. x 18 in. Upper strip (G), 2 ft. long. Braces (X), laths cut to fit. Wire loop (F), 8 ft. long. Wire ribs (H, L and K), each 3 ft. long. Wire rib (J), 5 ft. 6 in. long. Wire back ribs (T and U), one piece 3 ft. long, bent V-shape. Wire ears (W), two pieces 2 ft. 6 in. long. Two semicircular pieces for head (M and N), each l/> in. x 6 in. x 12 in. One semicircular piece for head (R), Y2 in. x 1^ in. x 3 in. Three laths (0, P and Q), 18 in. long. THE GOOK The Gook is an imaginary animal with an elastic neck and movable head. The details of construction are shown in Figure 9. The structure of the body is quite similar to that of the Elephant, though the modifications should be carefully noted. The following materials are required: Two runners, each 1 in. x 1 in. x 4 ft. 4 in. Two crosspieces, each 1 in. x 1 in. x 20 in. One back strip, 1 in. x 1 in. x 3 ft. Two braces, 1 in. x 1 in., length cut to fit. Wire loop, one piece No. 9 wire, 10 ft. long. 22 HOW TO PUT ON AN AMATEUR CIRCUS 23 Three wire ribs, -A ft. 10 in. long. One wire rib for front, 5 ft. long. Three wire ribs for rear, cut to fit. Ten neck pieces, 12 in. lengths of laths. Two front neck pieces, 8 in. laths. Two head pieces (P and P), 1 in. x 1 in. x 10 in. One cross piece (R), 1 in. x 1 in. x 6 in. One nose piece (Q), 1 in. x 1 in. x 20 in. One shoulder piece (B), 18 in. length of lath. One shoulder piece (0), lath, cut to suit. One stout cord to move head, cut to suit. 9 W Figure 10 framework for gook head and neck To make the Gook's head, first securely nail nose piece Q to crosspiece R in the shape of a cross, seven inches from one end of nose piece Q. Then nail to this the two head pieces P, as shown in Figure 9. To shape the skull, moisten a piece of cardboard and bend it over the head frame. Fasten it with large-headed tacks and tie where necessary, to shape. The neck, which can be made entirely of laths, is assembled as shown. Use threepenny nails, one nail at eadh joint. Take care to have the joints come exactly in the center of the twelve- inch pieces and six inches from the end of O. Length of O depends on size of operator. Join the head to the neck by 24 HOW TO PUT ON Figure 11 assembled frame for gook body with wire netting in place boring a three-sixteenth inch hole through the four pieces (P, P and two front laths N) and securing with a large nail. A little limbering up will allow the neck to close and extend, and the head to raise, lower, and shake from side to side. A cord Yellow- Figure 12 phantom view of the gook AN AMATEUR CIRCUS 25 passed from the upper end of nose piece Q to the front operator manipulates the raising and lowering of the head. A shorter cord is fastened to the first lath to prevent the head from dropping too far. The frame for the Gook's body is not unlike that for the Elephant. First nail the crosspieces to the runners as shown in the drawing. Two rather tall persons carry this frame on their shoulders. Fasten the wire loop to the frame. Bore Figure 13 photograph of the gook in action holes through the back strip, slip ribs through and bend them over and down. Secure the ends of the ribs to the loop. Cut the braces to proper length and put them in place. Bend the back and front ribs to shape and put them in place. When the frame is completed, cover the entire frame with poultry netting to keep the burlap from sagging between the ribs. Then cover with burlap, laying newspaper between bur- lap and poultry netting. The operators will wear loose-fitting 26 HOW TO PUT ON Figure 14 the gook poses fob another portrait burlap overalls. For a tail, ravel the end of a bit of rope and sew on. The tail can be stiffened with a piece of wire and manipulated by the rear operator. Or a feather duster can be used for a tail. Refer to the illustrations for suggestions for painting and decorating. AN AMATEUR CIRCUS 27 Figure 15 the circus giraffe in his native haunt 28 HOW TO PUT ON B/pcff /gA-3"*6" -/"Ola. 6'Leny. -Wo// (/oosej Allowance is made -CorJ to operator- for fastening wires All No.9 wire Bock-f*/ , j f 3'-/0" Rib 5ft Rib 4ft.,6in. Rib 4 ft; Cut Figure 16 the giraffe details of construction THE GIRAFFE After building the Elephant and the Gook, detailed instruc- tions are hardly necessary for assembling the framework of the Giraffe. Here are the materials needed: Two runners, each 1 in. x 1 in. x 4 ft. 2 in. Two crosspieces, each 1 in. x 1 in. x 24 in. One back piece, 1 in. x. 1 in. x 3 ft. 10 in. One upright, 1 in. x 1 in., length cut to fit. One brace, 1 in. x y 2 in., length cut to fit. One wire loop, 10 ft. long. One wire rib, 5 ft. long. One wire rib, 4 ft. 6 in. long. One wire rib, 4 ft. long. Three wire ribs for rear, cut to fit. One wire rib for front, cut to fit. One neck stick, 1 in. x 1 in. x 9 ft. AN AMATEUR CIRCUS 29 Two nose pieces, ^ in. x 5 in. x 14 in. One nose block, ll/§ in. x S in. x 6 in. One stout cord to move head. Two horns, 1 in. round by 6 in. long. To assemble the framewoi'k, first nail crosspieces to run- ners spacing these sticks as called for in Figure 16. Then put Figure 17 thli giraffe and a native attendant in place the wire loop, back, ribs and braces. This framework, like that of the Elephant and the Gook, is to be carried on the shoulders of two operators. Cover the entire frame with poultry netting, then with newspapers, and finally with the 30 HOW TO PUT ON Orange> Spots Figure 18 phantom view op the giraffe AN AMATEUR CIRCUS 31 burlap, which should hang down below the operators' waist- lines, as indicated in the photographs and drawings. Wrap enough paper around the head to give it a properly rounded appearance, and then cover it with burlap. The ears may be small tubular pockets, stuffed tight and sewed to the head, or they may be six-inch lengths of broomstick, nailed to the head and covered with burlap. Sew burlap into a long tube to form the neck, and sew to the head. Figure 19 MUSIC HATH CHARMS The front operator holds the neck pole, which may be fastened, for convenience in carrying, to the front of the body loop by means of a wire hook. This operator causes the head to nod by means of the cord, and can make the animal turn its head and neck by twisting the pole. A small rope, stiffened, with wire, is attached for a tail, extending inside through the cover so that the rear operator can manipulate it. 32 HOW TO PUT ON The operators wear rather tight fitting burlap overalls. The head, neck, body and legs are to be painted and decorated in a manner suggested by the photographs and drawings. Figure 20 the construction of the pony THE PONY Unlike the preceding animals, the Pony has but one opera- tor, and the framework is slung at the waist from the shoulders instead of being borne directly on the shoulders and overhead. The framework of the Pony requires the following materials, the reference by letter being to Figure 20: Two runners (A and B), each 1 in. x 1 in. x 3 ft. Two crosspieces (C and D), each 1 in. x 1 in. x 15 in. One piece No. 9 wire (E), 10 ft. long. One piece No. 9 wire (F), 4 ft. long. Three pieces No. 9 wire, for ribs, 4 ft. long. One neck piece (G), 1 in. x 1 in. x 28 in. Two neck stays (N and O), barrel hoops cut to fit. Back arch (K), barrel hoop cut to fit. Two braces (I and J), 1 in. x 1 in., cut to fit, Two nose pieces (H), laths, 14 in. long. One nose block, 1 in. x 1 in. x 3 in. One small crosspiece (M), 1 in. x 1 in. x 5 in. The runners and crosspieces are nailed together as for the other frames. There should be twelve inches of space between AN AMATEUR CIRCUS 33 the two runners. Neck piece G is nailed to crosspiece D and supported by the stays N and O, which are nailed to the front ends of A and B. When these are in place, loop E is bent into shape, the ends twisted together and attached to the frame with staples. Figure 21 phantom view of pony and rider The three wire ribs are bent V-shape, wrapped around small loop F and the free ends twisted to the large loop E, as in Figure 20. The two lath nose pieces H are nailed securely to neck piece G at point L, with the small block tacked between them at the tip of the nose. Small crosspiece M is nailed to G a few inches below L. This is to give shape to the head. The framework is completed by putting in place back arch K, made of a piece of barrel hoop, cut to fit. It is steadied by braces I and J, cut to fit, which are nailed between K and G, and lower end wired firmly to loop F. 34 HOW TO PUT ON The hoops for back arch K and neck stays N and O should be soaked in water before being used, so as to make them pli- able. A sheet of dampened cardboard is shaped around the head frame, tacked in place, pinned and trimmed, as shown in Figure 20. The Pony framework is now complete, and should look like the drawing. Cover the entire body with poultry netting except the space inside loop F. Place a few thicknesses of newspaper over the netting, then cover the body, head and neck with burlap, stuff- Figure 22 the circus cavalry ing out the neck with crumpled newspapers as much as neces- sary to round it properly. Use burlap-covered cardboard for the ears, and ravelled rope for the mane and tail. Make a pair of dummy legs of colored material and cover them below the knees with black oilcloth to represent riding boots. Or real boots may be attached. These are fastened at either side of the Pony, to loop F. A burlap skirt almost touching the ground is sewed around loop E to conceal the operator's legs. Put on reins, then paint and decorate with eyes, mouth, bridle, etc. The operator, or rider, carries the Pony by shoulder straps AN AMATEUR CIRCUS 35 firmly attached to A and B. He should wear a loose blouse or full shirt bloused out to hide the tops of the dummy legs. Bright colored shirt, jockey cap and riding whip will add a good touch. When ready for action, Pony and rider appear as in Figure 21. THE OSTRICH Here are the materials required for building the framework of the Ostrich : Two runners, each 1 in. x 1 in. x 32 in. Two crosspieces or stays, each 1 in. x 1 in. x 20 in. One piece No. 9 wire (loop O), 9 ft. 6 in. long. '•Stop/* ■Blue 2/D/eces £x fc 1*1 H AN AMATEUR CIRCUS 59 Newspaper comics, familiar to the public at large, need no description here, and are always popular. Boys enjoy dressing up in girls' costumes, burlesquing the extreme styles and putting on plenty of paint and powder. In short, there is no end to the variety of ideas that can be worked up easily and effectively for the clowns and comic characters. AN AMATEUR CIRCUS 61 CHAPTER SIX TO THE SIDE SHOW MANAGER Give considerable time and attention to the side shows, foi they will be a material help financially. If possible, place them so that the audience must pass them to reach the "big tent." If the side shows take well, it may be wise to delay the gen- eral performance. Following are suggestions for side shows which have proven successful : 'JS^~~?<*&M ] Figure 46 tattooed men, wild men and ringmaster Wjj rl Man JUnn in brown or black tights covered with black raffia girdle. Fuzzy black wig. Face and exposed body brown grease paint or minstrel black. Cistern chains fastened to legs. Eats dirt (ground chocolate and oatmeal). Smears face and hands with the mixture, but eats very little. See Fig- ure 46. The Hawaiian Beauties. Raffia-covered Mother Hubbard. 62 HOW TO PUT ON Wig with very long, fuzzy black hair. Ear-rings, bracelets and beads. Face made up with brown grease paint. See Fig- ure 45. Snake Charmer. Gaudy tinseled dress. Bare arms and neck. Hair done in a coil. For snakes, stuff oilcloth casings and color them to resemble diamond rattlers, pythons and other poisonous snakes. Attach several baby rattles to tail. See Figure 45. $25,000 Beauty. A scrawny, bandy-legged, hollow-chested, loose-jointed youth. Gaudy jewelry. Many beauty spots. Figure 47 girl clowns are always a good feature Costume, a caricature on present styles. Picture hat and short veil. Short white gloves and exposed red arms. Madame Fatima. Girl dressed in Oriental costume. Fat Man. Fattest youth obtainable, dressed in tight-fitting bathing suit. Tattooed Man. Boy in abbreviated costume. Exposed parts of body grease-painted with cubes, squares, circles, tri- angles, and other geometrical designs. See Figure 46. AN AMATEUR CIRCUS 63 Fortune Teller. Girl in Gypsy costume. A table inside the booth can be arranged with two metal plates on top con- nected with an induction coil. Victims place their hands on the metal plates and "Fortune Teller" operates switch with foot. A slight shock and many screams will result. If the booth is lighted with a dim light, plates are not noticeable. Green and red lights are effective. See Figure 45. Incubator Babies. Long lean boys, short fat boys, and all kinds of boys, reclining in nightgowns on cots attended by nurse girls. Rattles, pacifiers, bottles and toys in abundance. The Beauty Chorus. "Rings given free with each ad- mission." A quartet of pretty girls singing popular songs. A gong or electric push button will furnish the rings. Negro Minstrels. A male quartet in minstrel attire. The January Ground Hog. Some pork sausage. The Swimming Match. Several matches floating on a basin of water. The Grave Diggers. A pick and a shovel. Red Bats. A few broken bricks. The Monkey Cage. A large mirror seen immediately on entering. Joseph's Coat of Many Colors. A highly colored mackinaw jacket. Burst a Balloon. Have ordinary rubber balloons ; these can be bought at a reasonable price in lots of one dozen or more. The person buying a balloon blows it up until it bursts. They can be sold by the venders or in a booth. The Midget. The operator is screened by a dark curtain through which his head and arms extend. The operator's arms form the Midget's feet, shoes being put over the hands, and a pair of trousers made for the purpose, over the arms. These "feet" rest on a shelf or table. The body is made by stuffing a small shirt and coat and arranging it on the curtain. Stuffed gloves sewed to the ends of the sleeves are used for hands. This can be made very funny, especially if the operator has taken some pains in practicing to imitate the modern dances. It can be made still funnier if a second operator puts his arms through the curtain into the coat sleeves and uses them for 64 HOW TO PUT ON gestures, as in Figure 49. The whole thing should be roped off so that spectators may not come nearer to the Midget than three or four feet. Figure 48 the siamese twins Siamese Trains- Two boys in a special pair of three-legged overalls, as shown in Figure 48. Punch and Judy. This is an arrangement similar to that of the Midget, except that the operator's head does not come through the curtain. His elbows rest on the table. A small doll head is held in each of the operator's hands, and his fore- arms are dressed to represent Punch and Judy. If the operator is a ventriloquist he can add quite a bit of humor. The Periscope. A length of stovepipe and elbow has a looking glass so arranged in elbow that the spectator sees himself. Silhouette Artist. Anyone handy with a pair of scissors or pen knife can make attempts at cutting silhouettes. A like- ness is not expected. AN AMATEUR CIRCUS 65 Tattoo Artist. A few geometrical designs painted on the back of the spec- tator's hand will satisfy him. Princess Kanjmar. She reveals your future by the aid of cards. This is different from the "Fortune Teller" in that cards are used. As the Princess usually knows her victims, she can relate familiar situations. Zorabead of Kolabar. Another fortune teller. This one finds your for- tune in the desert sands of Zullaballu (a box of sand in which are buried a number of tightly rolled pieces of paper). The fortunes are written on these pieces of paper in "Hieroglyphics," and he is lucky who is able to de- cipher them. The Museum of Curiosities. A side show is not complete without its collection of fossils, bones, antiques, old prints and other objects of curiosity with which every one is familiar. One could also combine with this the January Ground Hog, the 66 HOW TO PUT ON Swimming Match, the Grave Diggers, the Red Bats from Aus- tralia and the Coat of Many Colors. The Congress of Freaks. Some of the features referred to before as the Fat Man, the Siamese Twins, the Tattooed Man, Samson, and the Bearded Lady may be combined and placed in one booth. The Hall of Hilarity. The entrance to this booth is made very narrow. Upon entering, one walks up an incline (the springing board from the gymnasium). Upon reaching the top of the incline one is forced to jump off. Several soap boxes are nailed to the floor at different places, over which one must climb. The interior being very dark, one does not know what to expect next. The passage way is very narrow and finally leads out on the other side. At one place in the passage way an overhead electric fan makes it necessary for everybody to hold on to their hats. At another place one mounts three or four rocky steps and descends on the other side, then over three or more soap boxes, through a large flat box filled with sand or other gritty material. At various places broomsticks on the floor make walking very difficult. The Shadow Show, or Moving Pictures. A white curtain, preferably a bed sheet, is hung and stretched at one end of the booth. A strong light shines directly on this sheet from behind. The performers work between the sheet and the light. A shadow is cast on the sheet and this is visible to the spec- tators in front. A short sketch can be worked out by two or three performers. Various motion picture stars might also be imitated. For Men Only. An exhibit of coats, trousers, shirts, and other strictly masculine attire. Professor Swindler, the Man of Magic. The magician who takes part in the ring performance can also handle this part in the side show. He gives several burlesque magic stunts. For this side show a small platform should be built, about two feet above the floor. A black curtain is stretched across the back of this platform and extends a few feet to the front on either side. It is so arranged that the audience can see the AN AMATEUR CIRCUS 67 show from the front of the platform only. The following stunts have been used very successfully. Tlie disappearing trick : The magician disappears articles by making a few magical passes over them and quickly handing them to assistant behind the curtain. The curtain has a lapped slit in it near the center. After magician "disappears" all articles, the assistant reaches out at arm's length for more, in plain sight of audience. Turning glass of water into a man: The assistant comes forth holding a glass of water. Magician tells the audience he will now turn the glass of water into a man. Assistant drinks the glass of water and exits. The water and wine trick : The chemicals for this trick can be purchased at a drug store. Get five cents worth each of tannic acid, oxalic acid and tincture of iron. Into a pint pitcher of water put a half teaspoonful of tannic acid, mixing it well. Then prepare four wine glasses as follows. First glass, empty ; second glass, put in a few drops of tincture of iron ; third glass, put in a few drops of oxalic acid (dissolve in water be- fore using) ; fourth glass, put in a few drops of tincture of iron. Arrange the glasses on tray so that you will know what chemicals each contains. All of this preparation is done be- fore showing the trick. You are now ready to perform the trick. Assistant brings tray with glasses and pitcher of prepared water. Announce to the audience that you can pour either water or wine from the pitcher, at your command. Then proceed. Glass 1 will be clear water, glass 2 will contain "wine," glass 3 will be clear, and glass -i will be "wine." Fill glasses half full only. Now mix glasses 1 and 2 and both will be wine. Mix glasses 3 and 4 and both will be clear. Hold one glass in the right hand and one in the left hand, pour from glass in right hand to glass in left hand and divide them equally, so that each glass will be half full. Pour into the pitcher glasses 1 and 2 and the result will be a pitcher of wine. To change the wine back to clear water pour into the pitcher the contents of glasses 3 and 4. The 68 HOW TO PUT ON oxalic acid is poisonous and proper precautions should there- fore be taken. This is a very old trick having been used by nearly every magician on record, and will therefore take well as burlesque magic. The floating body : The assistant lies down on a cot or box and is covered, all but his head and feet. He is then "hyp- notized" by the magician, and falls asleep. Through the wonderful hypnotic power of the magician, the sleeping form gradually rises and moves slowly to the front of the platform. This trick is very easily performed. A pair of dummy feet, made by attaching shoes to the ends of broomsticks, are con- cealed under the cover. The assistant manipulates these dummy feet, sticks them out at the end of the cover, and draws his own feet back. While the magician makes his hypnotic passes the assistant rises by gradually working his feet off the cot to floor, holding "feet" horizontally by the broomsticks sup- ported under his armpits, the cloth now being supported by the broomsticks. The cloth is long enough to reach to the floor on both sides when assistant stands at full height. After he has worked his way to the front of the platform the ma- gician removes the cloth, leaving the assistant standing with outstretched dummy legs to the continued amazement of the audience. AN AMATEUR CIRCUS 69 CHAPTER SEVEN TO THE CLOWN BAND LEADER In selecting your band members, take advantage of any talent that might present itself. Ten or twelve usually make the ideal band. If you have the material a girls' band will make a hit. Of course no attempt is made to carry a tune, a burlesque on one being more in keeping with the circus. The ■%—/ Figuue 50 a typical amateur circus clown band more noise and discord, the better, an effort being made only to keep time for the marches and dances. Trombones are es- pecially good. Have plenty of drums and cymbals. Kettle covers make good cymbals. Toy band instruments which are sung into instead of being actually played will be effective in both noise and appearance. Such instruments can be obtained from any dealer in musical instruments. If he does not carry 70 HOW TO PUT ON them in stock he can order them from his supply house. Addi- tional trick instruments can be made by attaching the song- vibrators of such instruments to odd and comic utensils. For example, a dummy French horn can be made with a piece of garden hose by attaching a funnel to one end and a mouth- piece to the other end. Select an active leader who can keep time in band leader style. Have him burlesque the popular conception of a band leader's antics. A good snare drummer will add much to the effect by playing a roll of increasing volume while such stunts as weight lifting, rope walking, etc., are being performed, end- ing with a crash of drums and a "royal blare" from all horns. Solos and duets are especially- effective. The soloist toots dis- cords until tired, when the whole band relieves him momen- tarily. Repeat. The band leader is favored with a bouquet of onions and weeds. He bows and smiles profusely. Little rehearsing is necessary. Since the "musicians" will not have much to do except to secure their instruments and "noisy" costumes, they can be used to construct booths, cages, animals and other equipment. Besides the noise furnished by the Circus Clown Band there ' should be some real music during the performance. If possible, music should be going on during the entire performance. It will liven up things and give the entertainment more of a circus atmosphere. If a real band is not available, a piano or even a phonograph will answer. AN AMATEUR CIRCUS 71 CHAPTER EIGHT ABOUT GREASE PAINTS Do not apply ordinary paint or pigments of unknown chemical nature to the skin. Use theatrical grease paints and make-up material of some standard brand that is known to be pure and harmless. Have a big sheet of cheese cloth to throw over the shoulders of the boy or girl while being made up, to protect the costume from grease and powder. S/ave-pp Skull f Cap' Clocan has fied Eye-brows £lackon£yes AedJfose £ lack lips White 'l Ihper/fose /fair and IVAlsAersansJ/ay fastened on wd/i Adhesive Figure 51 some handy suggestions for make-up Before applying grease paint a light application of cold cream should be rubbed thoroughly into the face and the sur- plus removed with a clean rag. This makes it easier to remove the grease paint, which will come off by rubbing with cold cream and removing with a cloth. Cocoa butter, which comes in cakes, may be used instead of cold cream. For each character, such as Gypsies, Indians, sunburnt com- 72 HOW TO PUT ON plexions, etc., use a stick of grease paint of the desired tint. It is well to finish the make-up with an application of theatri- cal blending powder over the grease paint, put on with a puff. The powder hides the oily appearance of the grease paint. It can be had in various tints. For the Clowns, use clown white, which needs no cold cream base. Rub it thickly and evenly on the face and neck and in- side the ears, then dust with white (not flesh) face powder. Crescents, spots, stripes and triangles are made with red or black lining pencil. The lips may or may not be rouged, just as preferred. The clown wig, whether it be a plain white skull wig or with colored bobs, is adjusted and the edges blended with white grease paint to conceal the juncture with the face. For Indians and similar complexions, use Number Seventeen grease paint. A carmine stick may be used to blend the high lights. Indians' wigs are effective, but if their cost is prohibi- tive head bands with feathers can be easily arranged, and will answer the purpose. Red, yellow and black are used for "war paint." For a sunburnt character such as fhp "R.nh p. use Number Seven grease paint. For Gypsies, use Number Fourteen. For Chinese, use Number Sixteen. For the negroes and the African attendants of the animals, use minstrel black. Professionals apply this directly to the skin and remove it with soap and water, but amateurs some- times lack the knack of "cleaning up" easily, and cold cream or cocoa butter may therefore be used. Minstrel black is so inexpensive that it is not worth while to try to make home-made burnt cork make-up. When fresh it can be applied as it comes from the box. Sometimes it is well to mix with a little water to soften it. Apply thoroughly to face, ears, neck, hands and forearms. Leave large mouths for comic negroes, but do not redden them. Use a negro wig, or cover the head with a hat or turban. In making beards, professionals often use crepe hair, but amateurs will generally find it much more convenient to use ready-made false beards, mustaches, etc. Spirit gum is used to attach the false hair or beard to the face. AN AMATEUR CIRCUS 73 Materials needed will depend upon the types and number of characters in jour circus, but the following list of make-up goods is suggested if you pur- chase the items individually: One stick each of natural flesh (No. 3), deep sunburnt (No. 7), Gypsy (No. 14), Chi- nese (No. 16), and Indian (No. 17) grease paint; one lining pencil each of black, brown, crimson and white ; one box of clown white ; one box of minstrel black ; one box each of healthy sunburn (No. 7), Indian (No. 17) and white (No. 1) theatri- cal blending powder ; a tube of cold cream or a cake of cocoa butter ; a quarter-yard of crepe ^J hair or several assorted beards and mustaches on gauze; a bottle of spirit gum, a stick of nose putty, and several wool powder puffs. If a considerable variety of make-up material is necessary, it may prove an economy to purchase a theatrical make-up box already equipped with a good assortment of grease paints, powders and other ac- cessories- Figure 52 THE BOYS LIKE TO "DOLL, UP 74 HOW TO PUT ON AN AMATEUR CIRCUS 75 CHAPTER NINE THE PARADE By all means have a parade. It is the distinguishing fea- ture of the circus. It not only gives every member of the circus an equal chance to do his stunt before the people but also offers a wonderful opportunity to advertise the show. Figure 54 here come the clowns, with their very own band Have plenty of march music. The town band might be in- duced to furnish the better music for the parade. Get all the live horses available. The authors have found that the girls particularly like to ride the horses in their cow- girl and squaw make-ups. In one case this idea was suggested to a young lady, and within a few days there were from fifteen to twenty entries in that section of the parade. Donkeys, ponies and other pet animals are also desirable. 76 HOW TO PUT ON Where necessary to defray incidental expenses, advertising space on banners to be carried in the parade may be sold to local business houses, if such solicitation is not objected to by the local merchants. Banners giving place, time and admis- sion price of the performance should be carried in any case. Be sure to have your ticket sellers canvass the onlookers during the parade. It will be a good time to sell tickets. Any one of the department managers may take charge of the parade. He may appoint a Parade Marshal who shall have complete charge of the routing and arrangement of the parade. SUGGESTED ORDER OF PARADE 1. Parade Marshal 2. Ringmaster. 3. Circus Ponies. 4. Town Band if available. If not. then circus clown band. 5. Ostrich with attendant. 6. Pyramid builders. 7. Bear in cage. Cubs following. 8. High School Cadets. 9. Monkeys in cage. 10. Wild West feature. Indians and Cowboys. 11. Lion in cage. 12. Girl clowns. 13. Gook with attendant. 14. Circus Clown Band if not already used. 15. Giraffe with attendant. 16. Clowns and comic characters. 17. Circus ambulance. 18. Elephant with attendant. 19. Volunteered features not otherwise usable. (Ponies, don- keys, goats, coasters, autos, pet animals in small cages or in coops on wagons.) 20. Calliope. Banners are to be interspersed throughout whole parade. Clowns and comic characters may be used to carry the cages. The participants should not crowd close together. There AN AMATEUR CIRCUS 77 should be at least eight to ten feet between them. They should go slowly, pay no attention to the onlookers, turn square corners and keep the line straight. The dignified behavior of the parade marshal and drum major will add much to the circus atmosphere. The band should play very often, though not long at a time. The drums should beat time during the entire parade. AN AMATEUR CIRCUS 79 CHAPTER TEN DETAILS OF PERFORMANCE Clown stunts, animal acts and "thrillers" which comprise the program are here outlined. Many other ideas will doubtless suggest themselves, but enough are described for a complete show. SUGGESTIONS FOR CLOWN STUNTS Clown Dance. Clowns enter running, raising knees high, and form single file. (1) Holding hands, bow in time, one, two, three, four, for sixteen counts. (2) Holding hands, arms forward and upward, one, two, three, four, for sixteen counts. (3) Holding hands, arms upward and bending forward, arms backward (slow count) one, two, three, four, for sixteen counts. Another Clown Dance. Clowns march in lock step to drum beat and form line facing audience. At signal from clown master, drum stops and all drop hands with fingers outspread and silly expressions on faces. Drum beats the following time, one and, two and, one, two, three, four, beating on numbers and resting on "and." At "one" all clowns hop straight up, alighting with left foot far forward and right foot far back, only the heel of the left foot touching the floor. Rest on "and." At "two" all hop again, this time alighting with right foot forward. Rest on "and." The motions are repeated on each count of one, two, three, four, when band joins in, the drum continuing the same time, the clowns turning to the left on count "four," hippety-hop around ring to front, and back to original position. Band stops and drum repeats beat as at first. This time, instead of holding arms at sides, clowns swing them backward and forward keeping time with legs. At count "four" they turn to left, hop around ring, and return to front, this time with backs to audience. They bend over, putting hands on floor, and go through same motions with feet as before. At "four" all turn to left, and, placing hands on hips of clown in front, skip out of ring. 80 HOW TO PUT ON PANTOMIME FUN AND NONSENSE A very fat clown carries and beats the drum. Another clown toots a horn. The drum keeps time while the horn renders hideous solos in time, out of time, or any old time. The clowns enter in single file, drum first, then horn, followed by all clowns and the rube. All line up facing audience. The music dwindles away and the clowns develop stage fright. They stand awkwardly and look silly. They make several false starts, — first one, then another — to give a comic dance. The fat drummer, stepping backward, trips and falls, drum on top. He kicks and howls and attempts to rise. To quiet the noise one of the clowns sits on his head, and others hold his feet and arms. After a short interval he is released and lies very quietly. Clowns gather around, very much puzzled. They debate on what to do with him. They look at his tongue, listen to his heart (in his stomach), and attempt to haul him away. One clown has an inspiration ; he produces large bottle and gives "dead man" a draught. Clown comes to life sud- denly and bottle has to be forcibly taken away from him. By much effort he is got on to his feet and straightway beats drum while clowns have a joy dance. In time with the music, first one, then another, jumps straight up. The time is "one and, two and, one, two, three," beating on numbers and resting on "and." A clown jumps with each beat of the drum. The time is dreadfully slow, and the horn dismal. Time gradually quickens and clowns vary the dance, each dancing in a different style. The popular dances are burlesqued and grotesque dance steps introduced. First one, then another, leaves the stage until only the drummer is left. He is sent off by the Ringmaster. INDIVIDUAL CLOWN STUNTS The following stunts can be interspersed throughout the whole performance. They are especially effective between acts, and can be used to fill in. Clown Jitn ey. Clown with auto lamps fastened to arms blowing auto horn with one hand. Smoke pouring out of back AN AMATEUR CIRCUS 81 from under his coat. Sign painted "Jitney" hangs on his back. Wild Dos:. Clown leads a very small dog by a large chain. Chain can be made of wood or heavy rope, painted black. Why Men Leave Home. Clown carrying wash-tub. Shoul- der straps are attached to tub. Rubbing board in tub. Busi- ness with rubbing board. Figure 55 uncle josh and his corn-fed baby The Walkin g Bed . Two clowns, apparently lying in bed. The bed is on wheels, or it may be carried by the clowns. Clowns walk, their feet being covered by a curtain around the bed. Sharpshooting Exhibition. A clown places a lighted candle on top of his head. It is held in position by means of a small 82 HOW TO PUT ON holder previously attached. A small rubber hose leads from the clown's mouth up alongside the candle within a short dis- tance of the flame. A second clown aims at the candle with a cap pistol. When he pulls the trigger first clown blows out the flame. First clown places a lighted match in his mouth. A second clown aims at it with a water gun such as can be pur- chased in nearly any hardware or novelty goods store, pulls the trigger, and water shoots out of gun into first clown's face. The Lost Rubes. An old farmer and his family, who have come to the circus, get separated in the crowd and cause a disturbance, always afford plenty of laughter. Football. Three clowns make up the stunt. A football is tied to one clown's foot with elastic band. The clown to whose foot the ball is tied, kicks the ball and trips. Another clown picks up the ball and walks off with it. He releases it, when it bounds back and knocks first clown down. Clown Photography. Hiram, Mirandy and the Photogra- pher take part in this stunt. For the camera take a wooden box, about 10 in. x 10 in. x 14 in., nail to one end a cylindrical piece of wood to represent the lens and shutter, then attach three sticks for a tripod. The Photographer poses the couple, throws a black cloth over the camera and "focuses" it. Pho- tographer goes through the business of posing the couple and running back to camera several times. He motions to the couple to hold the position while he takes rear view. The couple continues to face front, assuming very rigid and awk- ward pose, while Photographer carries entire camera to rear, quickly goes through motions of posing couple and focusing camera, then takes entire camera and walks away leaving couple standing. Photographer never returns. Hiram and Mirandy finally "come to," much surprised. Out of Season. A clown meanders around with fur coat and straw hat. Rainy Weather. A clown carries umbrella. Water shoots out oF~Eo~p7-#trnrrtain-like, through hollow stem. A rubber bulb is attached to the handle and a tube extends to the top. A Motion Picture of the Lion. For a moving picture ma- chine nail an old coffee grinder to a one-by-one inch strip. AN AMATEUR CIRCUS 83 Place two small tin cans on top of the grinder for "reels." The photographer approaches the lion to take his picture, but lion objects. A lot of funny business with lion, photographer and group of clowns. Floats. Floats can be made depicting current events. Make a float to resemble a submarine. Clowns inside carry it. A clown precedes the submarine with a sprinkling can. ANIMAL ACTS Equestrian Act. Four even-sized boys, carrying constructed ponies, trot into ring where ringmaster takes charge. They walk, run, gallop and cake-walk to music and ringmaster's command. The Ringmaster comments on the peculiarity of each animal's gait while they burlesque the trot, pace, hand-gallop and single foot. The cake-walk offers a fine opportunity for burlesque. To the Ringmaster's commands the ponies wheel by one's, two's and four's, reversing and countermarching. They trot down center by four's, break to right and left by two's, re- turning down front by two's, and break to right and left by one's. Cross in rear, and come down side to front. Form in two's, repeat. Form in four's, break into single file and exit to march music. The Elephant's Performance. Ringmaster introduces "Isa- dore, the Irish Elephant." Isadore does the conventional ele- phant stunts, such as lifting her feet, standing and sitting on wash tub, walking over trainer who lies on floor, etc. She stands on two feet, both on same side. Her motions are slow and careful. She keeps up a swaying motion with her trunk. Much urging by her trainer is required to put her through her stunts while the Ringmaster carries on rapid fire conversation on her personality and ability. The elephant performance is a burlesque pure and simple. Isadore can eat hay — if front operator reaches for hay through elephant's mouth. Ringmaster makes the startling announce- ment that Isadore will now attempt to stand on one foot. A foot ruler is placed on the floor and Isadore steps on it. Dances off to band music 84 HOW TO PUT ON The Giraffe's Performance. "Katherine, the Arkansas Gi- raffe," always has a grouch on and is opposed to doing any- thing that will please anyone. But she does everything she is told not to do ; this by way of variety. Happily, however, her trainer is well acquainted with her disposition, and in order to get her to do her stunts he tells her not to do them. She is commanded not to switch her tail, as it might annoy that fly on her ear. She immediately switches her rope tail so vio- lently that it turns entirely over at times. She is told that the people in the audience are all very dignified and do not approve of dancing, which, of course, starts her dancing in a very awkward manner while the band toots discordantly. Giraffe dances out of ring. Wild Animal Performance (Bears, Lion, and Monkeys). A lady trainer takes charge of this act. The animals enter the ring in single file. Boxes or small barrels are arranged in the ring for seats for the animals. The trainer has some diffi- culty in getting the animals to their proper positions. The monkeys and cubs on opposite sides of the ring trade seats while the trainer makes her sweeping bows to the audience. Whenever the trainer passes the lion, a growl is heard. The animals are made to jump through hoops, over the trainer's whip, and over boxes and hurdles. They are each given some musical instrument furnished by the clown band. One of them takes the trainer's whip and acts as leader, and the noise be- gins. The climax of the act is reached when Felis Leo comes to the center of the ring and places his arms about the trainer's neck. The trainer bows, and all exit. Educated Cubist Gook. An ingenious Ringmaster will origi- nate stories about each feature which he is to present, using names of local people and places to add interest. The intro- duction of the gook may be brought about as follows: "Ladies and Gentlemen: It gives me great pleasure to in- troduce to you the Giant Cubist Gook, the only one in cap- tivity." Enter Gook, bowing to audience. "This Gook was captured by Professor — (name local character). Doctor — (name local doctor) thought he saw the mate of this Gook roaming at large on the banks of the — (name local stream) AN AMATEUR CIRCUS 85 but upon coming closer found it to be — (name local character) in his new bathing suit. In order to make sure that we get a real Cubist Gook for this show, she was obtained in Cuba, for in Cuba all Cubist Gooks live in Cubeb trees and even among Cubeb roots. This Gook was so firmly fastened to the roots of a Cubeb tree in Cuba, that in order to get her out they had to extract the cube root." Gook, very excited, stamps feet and shakes head. "This is a lady Gook and we have named her Jane, but we call her Samantha for short. Now, Samantha has shown wonderful aptitude for learning. She has learned to count and is learning to read. She is absolutely harmless and will eat from the bare hand." Gook suddenly extends Figure 56 having fun with the gook neck, knocking Ringmaster's hat off. Business of correcting her. "Now, Samantha, many of these people have come thou- sands of miles to see you, and I want you to do your best." Ringmaster holds up two fingers. "How many fingers am I holding up?" Gook stamps twice, very deliberately. "Good! Now how many ? — Good ! — How old is this little boy?" Gook 86 HOW TO PUT ON stamps once for each year, previously ascertained. "Is that right?" Boy answers "yes." Several other questions may be asked and answered by Gook by shaking and nodding of head. Many other stunts will suggest themselves. The age of a popular young lady in the audience is asked when Gook stamps with all four feet for such a long period that Ringmaster is forced to make her stop. Band plays and Gook dances off stage. Monkey on Roller Skates. Select a boy who has some ability on roller skates. The smaller the boy, the better. Monkey comes on, walking on all fours, takes a seat, while at- tendant puts on his skates. He imitates a monkey's antics and characteristic movements. Monkey is reluctant to perform and requires urging. The usual gymnasium floor is too slippery for roller skates. Sprinkle lightly with a mixture of chalk and powdered resin. The Ball Game on Mount Ararat. Equipment: Large ball filled with cotton, and bat made of cloth stuffed with cotton. Cushions for bases. Animals march on stage barking, growl- ing, etc., supposedly deciding who shall bat first. After a few minutes of discussion this is decided and animals take places on stage for a game of "scrub." Gook is umpire and his rank decisions bring forth much disapproval from all the players. Elephant may use his trunk for bat, and the Ostrich may use his neck. Play continues with many interruptions. At last general fight is on, when attendants drive animals off. Magician, Ostrich, and Circus Ambulance. Magician is attired in full dress or frock coat, and made up with rosy com- plexion and black mustache. He removes his coat and rolls up his sleeves. A fine black silk thread about twenty inches long is looped through button- hole of vest and ends tied together. Act is opened with a comic introduction of "Professor Angelo Gonzolollo," by the Ring- master, who explains that the magician will attempt to per- form a trick called the "Magnetic Mazuzzes" which has been performed by very few white men and no Chinamen at all. The Magician borrows the black baton from the Band Leader and "magnetizes" it by rubbing it on his vest and in his AN AMATEUR CIRCUS 87 hands. Unnoticed by the audience he slips the baton through the loop in the thread and demonstrates that it will stick to his two thumbs when placed in any position. The loop comes to about the center of the baton while the two thumbs are placed flat against the baton, an inch or so in from the ends. The baton is pushed out, away from the body, and against the loop. With a little practice the baton can be made to "stick" to one hand or even to one finger. The Rube attempts the same trick and fails. The Magician repeats performance and returns baton to Band Leader. He next collects various articles such as watches, cash, rings, keys and hats from the audience, explaining that he will per- form his famous transposition act. Assistant brings two large boxes, placing one at each side of ring. Magician places all articles in one of the boxes, and explains that the trick is to get the articles from one box to the other without human aid. While Magician boasts to the audience, the Ostrich enters and "devours" contents of the box. The Magician discovers the box empty, and appears to be greatly disturbed at his failure. Persons in the audience, previously coached to object, are quieted by Magician's promises to restore lost articles. Mean- while the stage hands carry out both boxes, and the Farmer, Policeman, and Magician chase after the Ostrich behind the scenes. The articles from the box are quickly placed inside the Ostrich and all continue chase. The Ostrich runs back on stage. She is captured and brought down the center. The Ringmaster shouts for the ambulance. Enter the ambulance, ringing gong, and circling the stage several times. The Driver and Assistant carry the ambulance. The Driver becomes the Surgeon. He steps from ambulance, removes cap and gloves, and leisurely dons surgeon's uniform, which consists of white butcher's coat. Assistant, also in white, gets large grip and "anaesthetic machine" (large bottle with rubber hose attached) from ambulance. Ostrich, very sick, lies down with feet to back of stage. Assistant opens grip and removes butcher knife, meat cleaver, hatchet, pliers, and other tools, which he arranges with great care on the floor. Surgeon examines patient carefully while Assistant 88 HOW TO PUT ON sterilizes the instruments (dips them in pail of water). Ring- master and several performers look on anxiously. Assistant administers anaesthetic (points hose at Ostrich's head and makes hissing noise with mouth). Surgeon then makes in- cision in stomach (cuts through burlap cover on Ostrich), and calls for saw from ambulance. Business with saw and other tools. He then removes from sack (hidden in ostrich) articles previously taken from audience by Magician, together with clock springs, bottles, ropes, nails, etc. Assistant returns ar- ticles to audience. Magician enters and bows profusely. Pa- tient revives, kicks Surgeon violently and is subdued by several bystanders. Surgeon swabs Ostrich out with big sponge, wrings sponge in pail of water, throws sponge into patient, and sews Ostrich up. Ostrich, completely recovered, looks at clocksprings, ropes, and other articles about floor, hops around joyfully, and all exit. The Wedding of the Bear and the Lion. This act may occur at the close of the circus. All the animals that have previously appeared take an active part, while the clowns and character people are the guests. The band gives its interpreta- tion of the wedding march and joins in the uproar. The Ring- master's comments to the audience make clear what is going on. The Gook, as the minister, takes his position in the center of the stage, under a wedding bower placed by stage hands. This bower is decorated with hay, fruits, and vegetables in abundance. The Monkey holds the book — Kipling's Jungle Book. After a short wait the band strikes up the wedding march and the bride and groom appear, preceded by the Ostrich as flower girl, dropping vegetables in their path. The groom wears a frock coat and silk hat — nothing more, while the bride is attired in a long trained skirt and a wedding veil. She is a widow and her two cubs carry her train. The Gook bellows the questions to the bride and groom, a rising inflection marking the questions. "Glub dup inkney oomp ? Igglety oonk gubble skygack skeek?" This is a specimen of "Gook lan- guage." The Elephant gives the bride away. A serious difficulty comes up in the ceremony when the Lion balks at the question. AN AMATEUR CIRCUS 89 He is immediately subdued by the bride and the ceremony pro- ceeds. The wedding breakfast follows in which animals and guests, including the band, devour the bower. A tub of "punch" is the liquid refreshment, and everyone imbibes freely. Figure 57 let the wedding beles ring out Under its influence a dance is started. The Rube is master of ceremonies, while the band plays the tune, "Old Zip Coon." The Ringmaster dances with the bride, while the groom takes an Indian Maiden. The coupling of the partners can be made very comical. The dance should be an old fashioned quadrille. This makes a good closing act if the circus is given in an audi- torium or theater. The curtain may be dropped during the dance, the Ringmaster bidding the audience Good Night. 90 HOW TO PUT ON DRILLS AND DANCES Indian War Dance. Indians enter in single file, marching with crouched stealthy step, while drum beats tom-tom music. Indians form circle in file. The following typical Indian dance steps may be worked out in various combinations, the dancers always keeping the form of a circle, dancing in file, reversing, facing center, or pivoting: Stamp Step, body crouching. On every other step draw knee very high and stamp. Alternate. Figure 58 a group of indian girl dancers Hop Step, body crouching. Swing head very low. Step and hop on one foot then on the other. Move forward, reverse, pivot right and left. Jingle Step, body crouching. Several very quick hops on one foot, then on the other, accompanied by swaying the head and body. Yell spasmodically throughout the dance. Another Indian Dance. Formation, circle. Number, any number. Indian music. The hop step is used throughout. AN AMATEUR CIRCUS 91 With body crouching, swing head very low, step and hop on one foot, then on the other. (1) Eight steps left; rest eight counts, arms folded, head high. (2) Eight steps right; eight around self; rest eight. (3) Facing center, arms upward raise four counts; lower to floor four counts; sixteen counts. (4) Fold arms, move in circle to right, yell "whoo" on every eighth count ; around circle once. (Glide follow step used.) (5) Face right; eight steps right. (6) Swaying body and head repeat 1 four counts, kneel and slap hand on floor five, six, stand seven, yell "whoo" eight. (7) Repeat 5 and 6, rest eight counts. (8) Facing center, arms raised in sun worship, eight counts. (9) Facing center, arms lowered in thanksgiving, eight counts. (10) Move to right with arms raised, eyes upward, around circle once. (11) Rest eight counts. (12) Sit, saying "um-pah" (repeat- ing several times) and slapping floor while chief takes last ear of corn of the harvest to sacrifice in the campfire. Exit using Indian step as above. A real campfire in the center of the circle (plenty of red electric bulbs and red tissue paper) will help to make this dance very effective. Girls or boys can be used, but preferably boys. The High School Cadets. This comic group may be named after a local school or organization. The characters are: 1. Commander. Loud voice; good military presence. 2. Private — (real name of performer). The only real and loyal soldier in the army. Executes all commands perfectly. 3. Private "Knockout O'Brien."— Tough character; very aggressive; walks with swagger. 4. Private "Thomas Thumb." Large and clumsy; acts foolish and marches awkwardly ; executes all commands wrong. 5. Private "Adolph Scratchandwriggle." Short; clothes too large ; very nervous ; always shrugging shoulders and pull- ing up trousers. 6. Private "Algernon Atherton." Dude; neatly dressed; executes commands in affected manner. 7. Private "Ebenezer Snoozelum." Old and lame ; uses old broom for crutch; hobbles along and executes commands late; dressed shabbily. 92 HOW TO PUT ON This feature is a burlesque throughout. All enter, march- ing out of step. Front face on platform. Captain calls the roll, from large sheet of paper carried in his boot ; he gives commands, but they are all executed backwards and sometimes not at all. Several soldiers fall out of line and have to be forced back. One is ordered shot at sunrise, but "his mother does not wake him up that early." The Dude forgets his duties and visits with the audience. He is discharged and the Captain Figure 59 the high school cadets calls for a recruit, when the Rube appears and takes Dude's place. The Rube makes a fairly good soldier, but his whiskers interfere. Trouble arises when Private Thumb drops his gun on O'Brien's toe. O'Brien puts on his gloves and deals Thumb a knockout. The Captain calls on them to salute. The flag has been forgotten but the Rube has a red bandana handker- chief to substitute. All salute in a different manner. "Eats are ready," someone yells behind the scenes, and all exit hur- riedly except Commander and Private — (good soldier), who march out in a dignified manner. AN AMATEUR CIRCUS 93 The Pony Show. This is a dance usually used with the kindergarten children. The boys are the ponies and the girls the drivers. The boys form in pairs, holding hands. The reins are fastened to the boys' arms, or they may hold them. Each girl drives a pair of ponies. They enter, galloping and jump- ing over low hurdles made for the purpose. They form in a circle on the platform. The various steps can be worked out with them — the gallop, pace, and trot, around the circle several times, then reversing, using different formations. Folk Dances. Folk dances in costume always take well in connection with the circus, and should be used wherever pos- sible. Detailed instructions for many such dances will be found in the book, "Dances, Drills and Story Plays," by Nina B. Lamkin. The Mechanical Dolls. Six to twelve girls in full paper or tarleton dresses go through doll movements to music. This is a splendid feature, and the younger girls as well as the older ones will delight in working in this performance. SENSATIONAL FEATURES Japanese Slack Wire Performance. Two supports are placed on the stage about twenty to thirty feet apart. A rope with rubber bands fastened to the ends is stretched between. The performers require only tights, a blouse, a conical straw hat (shaped from an old one), and a paper parasol or an um- brella. They skip on stage, bow and smile to audience, dip stocking feet in box of sand, rub sand on hands, hop about and pose while band plays softly. "Music" stops and drums begin roll. Performers prepare for great leap to rope. As they jump upon the rope, cymbals clash and rope is forced to floor. Practice is needed to give appearance of real ropewalkmg, making it seem to be very difficult to keep balanced. Attendant brings water in glass and performer succeeds in drinking while standing on rope. Climax is reached when one kneels and other jumps over him landing safely on other side. As they jump from rope it springs to original position. As this act is purely a farce much depends upon the agility of the performers to "get by" with it. 94 HOW TO PUT ON AN AMATEUR CIRCUS 95 Another Slack Wire Performance. Two barrels are placed on the platform about ten feet apart, and a two-inch plank is laid across the top of them. The plank should have some spring in it. The slack wire performer is lifted to her position on the plank by the stage hands. She makes several unsuccess- ful attempts to stay on the wide plank. Finally, the stage hands walk on either side of her, ready to catch her, should she fall again. Very clumsily she performs the conventional slack wire tricks. Climax is reached when she drinks a glass of water, which she poured from a pitcher, while kneeling. This stunt can also be worked with two clowns as the principals. Acrobatics. Have the boys gather up a few old bed mat- tresses for mats. Get all the acrobats together and hold a try- out. Pick out the most capable. Out of a group of ten boys you can easily find five who can do enough tricks for an act. Let them do the toe roll, hand spring, elephant walk, the wagon wheel, and any other of the well known acrobatic stunts. Pyramid Building. Let five of the largest boys kneel in a row on the mat. Four of the next smallest sized boys kneel on top of the first five. Then three on top of these, then two, the smallest boy in the group standing on top of the last two. At a command from the instructor the boys "squash," that is, all fall flat on the floor. Another pyramid may be formed by having a number of boys form in a circle, holding arms. Another circle of boys is formed on the shoulders of the first group. With a little practice a third group of smaller boys can form a circle on top of the second group. Stage Coach Hold-up. All that is necessary is to suggest this feature to one of the leaders among the boys. All boys have read enough about pioneer days, and have seen plenty of Wild West shows and moving pictures, to know something about this feature. The difficult part is the making of the stage coach. Get a large dry goods box and place it on a small cart and nail securely. Cut an opening in the back and two small openings in the sides for door and windows. Cut the two sides out of a small box, nail it on top to the front for a seat for the driver. Throw a couple of suitcases, a small trunk, and two or three "mail sacks" (gunny sacks) on top. With a 96 HOW TO PUT ON Cowboy for a driver and the Rube, Mirandy and a few others for passengers crowded inside the box, the stage coach is com- plete. Four boys are the horses. Boys' Relay Races. A contest between different schools is always interesting and exciting. It can be made still more so if the management of the circus offers a prize for the winning team. Figure 61 one crowd of boys designed and built this novel push-power racer Auto Races. Nearly every boy owns an auto coaster. The youngsters will delight in having races, and will do their very best to make a good showing. The autos, if not mechanically propelled, can be pushed by older boys. Teams can be made up just as in regular track work. The boys will work up this feature themselves. The Death-Defying Dip {High dive). This is a sensa- tional feature and can be given very well as a closing number. The principals in the feature are two girls, preferably twins. They are dressed in bathing suits which are exactly alike. The apparatus is a six-by-six foot platform, raised about twenty AN AMATEUR CIRCUS 97 feet or more above the spectators' heads, and a large "water tank" which is placed on the floor a few feet away from the platform. When ready to start the performance, the band plays an appropriate air and Dare-Devil Daphne, the Diver's Daughter, ascends the ladder slowly. When she reaches the platform she is hid behind a curtain where she manipulates a dummy, dressed exactly as she is. At the exciting moment she releases the dummy, which slides down a very fine wire into the tank supposed to contain water. A big splash occurs. Dare- Devil's double who has previously concealed herself in the tank, throws out a bucket of water and quickly jumps from the tank. The effect is good, especially if the audience knows the twins, and if Dare-Devil's double gets herself wet enough. CONCERT FEATURES Strong Man Act. Use a very fat or a very slender person. If fat, array him in a tight-fitting bathing suit. If slender, use a tight-fitting union suit and trunks, accentuating all his joints and points by padding. He lifts great weights with much preparatory stretching and gymnastics. He is an important individual and takes his time. After each demonstration of strength his trainer fans him with a towel, and sponges his head. He lifts a 1,000-pound dumb-bell made of two basketballs with a broom handle between them, the whole covered with black cloth and the "weight" con- spicuously marked. With musical accompaniment he makes several false starts. Finally sand is poured on the floor and wooden blocks are "nailed" around strong man's feet to keep them from slipping. (Stage hand drives nails only partly through blocks). Strong Man succeeds in raising dumb-bell while band is awed to silence. He then contemptuously casts dumb-bell to a distance, where it bounces on the floor. Stage hand enters and carries off the nailed blocks. By means of a strap, strong man lifts with his teeth a card- board pyramid labeled "598 pounds." After getting up mo- mentum he swings it in a circle and finally lets it fly at audience. He balances a table on his chin, a rope being passed from one corner over a pulley on ceiling. Strong Man lifts table to 98 HOW TO PUT ON position while stage hand holds the rope. Do not hide the rope, as you are not trying to fool anybody. Strong Man also bites large nails in two and breaks rod of steel. Have nails and rod previously sawed nearly in two with hack saw. Mock Prize Fight. For this feature select two of the largest boys. They should be dressed in bathing suits. Have sponges, buckets of water, towels, seconds, and other necessary paraphernalia. Show the boys how the professionals sit in a relaxed posi- tion before the fight and how they shake hands on the first bout. Appoint a timekeeper and referee. The fight should be practiced beforehand and fancy strokes introduced. At knock- out the referee counts ten. Two boys carry off the unconscious prizefighter. Do not drag the fight out too long. Three or four rounds will be enough. Gypsy, or Fortune Tellers', Dance. Music, waltz ; number of girls, two ; formation, freely about stage. This is adapted from the Spanish dances. Use aesthetic arm movements throughout. (1) Run forward, six steps. Strike tambourine on count six. Bow, six counts. (2) Run backward, six steps. Strike tambourine on count six. Bow, six counts. (3) Hop-skip, six counts. Turn with hop-turn, three counts. Raking step, three counts. (4) Repeat (3), four times. On last turn kneel and tell fortunes (placing cards on floor). (5) (a) Balance-step, forward left (step, raise, lower), six counts; (b) balance-step, backward right (step, raise, lower), six counts. (6) Turn to left, waltz step, six counts. (7) Repeat (5). (8) Step left, cross right, step left, and hop left. (9) Repeat (5) to (8) toward right. (10) Reverse and repeat (5) to (9). (11) Deep bows to four facings. AN AMATEUR CIRCUS 99 Plantation Jubilee Singers. The two quartets from the side shows can give this feature, or other talent may be used. Sing rollicking coon songs. The success of this feature is certain, since the good singing will be in strong contrast to the "circus music." AN AMATEUR CIRCUS 101 3. 4. 5. 6. 7. 8. 9. 10. 11. CHAPTER ELEVEN ORDER OF PERFORMANCE Ring Performance All per- by Grand March. formers. General introduction Ringmaster. Clown Band. High School Ponies. Slack Wire Performance. Elephant. Pyramid building and acrobatic work by Clowns. Giraffe. Indian dance. Wild animals. (Monkeys, Bears, and Lion.) Military drill by Cadets. 12. Clown Band; solos from various members. 13. Gook. 14. Clown dance. 15. Magician. 16. Ostrich and Circus Am- bulance. 17. Plantation Jubilee Sing- ers. 18. Ball Game. 19. Wedding of Bear and Lion. 20. High Dive. 21. Stage Coach Hold-up. 22. Auto coaster races. 23. Any volunteered features. Side Shows 1. Wild Man. 11. The Beauty Chorus. 2. Ethiopian Beauties. 12. Negro Minstrels. 3. Snake Charmer. 13. The January Ground 4. $25,000 Beauty. Hog. 5. The Oriental Girls. 14. The Swimming Match. 6. Fat Man. 15. The Grave Diggers. 7. Siamese Twins. 16. The Red Bats. 8. Tattooed Man. 17. The Monkey Cage. 9. Fortune Teller. 18. Joseph's Coat of many 10. Incubator Babies. colors. The Side Shows can be given as a Concert if desired, in which case they will follow immediately after the Ring Per- formance. If given as a concert, the following order is sug- gested: 102 HOW TO PUT ON 1. The Wild Men. 2. The Hawaiian (or Ethi- opian) Beauties. 3. The $25,000 Beauty. 4. The Siamese Twins. 5. The Tattooed Man. 6. The Fat Man. 7. The Strong Man. 8. Snake Charmers. 9. Gypsies (Fortune Tell- ers). 10. Jubilee Singers. AN AMATEUR CIRCUS 103 CHAPTER TWELVE THE RINGMASTER The Ringmaster's costume should consist of a high silk hat, very high wing collar, bright red tie, Prince Albert coat, red trousers, oil cloth boots which come above the knee, a yellow or purple waistcoat, a large gilded iron watch chain, a large paper chrysanthemum in buttonhole, and a real whip with snapper. Figure 62 the ringmaster The face should be covered with flesh paint, cheeks very ruddy, lips red, eyebrows very heavy and black. A black curled mus- tache is a good asset. The Ringmaster is the most important man in the general 104 HOW TO PUT ON performance. A good voice and a ready wit are absolutely essential. His introductions and comments to the audience inter- pret the nature of the circus and the various features. His ridic- ulous remarks will relieve an awkward pause in the performance or the failure of an actor, as well as reassure the performers. He should put into his introductions as much local color as possible. Below are a few suggestions for introductions : General Introduction Ladies and Gentlemen: The greatest of all shows in the world today, — {local name for circus), will exhibit for your pleasure and approval this evening the most wonderful and remarkable living animals, daring feats of skill and intelligence, a stupendous aggregation of wild beasts, in short, the most unique and hair-raising performance ever presented before a civilized audience. This greatest of all circuses has eighty- nine carloads of animals and paraphernalia and a troupe of over five hundred and twenty-three actors, freaks, showmen, clowns and roustabouts. The show had to be reduced to a one-ring act for this occasion on account of the size of the place in which we are giving it. This wonderful collection of animals and performers has been gathered from all parts of the world and — {name nearby town). These selfsame animals have caused many restless nights for Barndoor Bailhay, The Ringtail Brothers, and the Adam Hind Paw Circuses, for they have tried for years to capture them but without avail. I solemnly re- quest that you all sit in your seats and maintain a boisterous silence during the performance. Loud laughing or crying will disturb the audience and terrorize the animals. Clown Band We take pleasure and pride in opening our circus with a selection by the finest band we have been able to secure for this occasion. Its name speaks for itself, "Bumplayers," and the charming airs rendered were composed by {music leader), the well known music instructor in the far-famed {local school). They will bring tears to your eyes. (Ringmaster wipes his own eyes.) AN AMATEUR CIRCUS 105 Equestrian Act We shall now show you this company's idea of a group of performing ponies. (Ponies trot in.) These are high-strung, sensitive little animals and require careful handling. Girls' dozen Dance Probably there is a reason why clowns in general are male performers, but we are about to show that there is one more thing where woman is on an equality with man. Miss Blank's (name of person in charge of dance) clown dance, given by one who is an artist in her line, will prove to you that the female clown is funnier than the male. Elephant Next Ave will present a most unusual attraction. All cir- cuses, of course, carry elephants but no such ones as our Isadore, the largest specimen of the jungle ever exhibited, and of re- markable intelligence. She can do everything an ordinary animal can do, and knows more than some humans. Pyramid Work and Tumbling Sometimes there are found, in exceptionally high-class shows, acrobat trainers of marvelous ability. We are fortunate to have the services of such a one, who has trained and directed his acrobats so that nothing seems too hard or high for them to climb to. I refer you to — (name person in charge) and his Perfectly Peerless Pyramid Builders. Slack Wire Performance Next, ladies and gentlemen, comes our slack wire per- formance, most particularly slack. Dealing with wires, my friends, is dangerous business, as touching live wires, tapping wires, wire pulling. And now you are to witness slack wiring feats. Notice the height at which the performers risk their lives ! Indians I trust that none will cause any unusual disturbance during the next number. The Indians that are about to appear before 106 HOW TO PUT ON you are the direct descendants and only survivors of the John Smith tribe. They will give you their native dance just as it was taught them by (name person in charge) not to be excelled as an instructor of Indians and whites in dancing and war-cries. Wild Animal Performance And now we come to the most interesting and delightful of all, the Long Tailed Acrobatic Monkeys, the Nubian Pie- faced Lion, the Ferocious Gazoodelum, and other wild beasts of the jungle. Military Drill, or "High-School Cadets" Schools throughout the country (waves hands grandly) are training young men in military tactics. (Name local school) — has been one of the first to carry out this idea, and has formed what is now considered a model company of young soldiers, under the leadership of Captain — (name person in charge). Owing to the lack of funds, this company has gen- erously provided its own uniforms. No expense has been spared in its equipment. The boys are marvels of prompt obe- dience, intelligence and efficiency. Magician My pleasure has reached its zenith in introducing to you Professor Angelo Gonzolollo, who will attempt to perform a few tricks of magic. (Magician fails to enter. Ringmaster shouts for Magician, who enters and makes excuses.) Other Features Other features are introduced with a few well-chosen re- marks in the same bombastic style. Each introduction should be brief. If it is long drawn out, the audience will grow tired and lose interest. AN AMATEUR CIRCUS 107 CHAPTER THIRTEEN TO THE ADVERTISING AND FINANCE MANAGER The advertising manager is the business man of the circus. He should have charge of the securing and distributing of all advertising matter, such as window cards, handbills, posters, etc. If advertising space is to be sold on programs, or on parade banners, he sees to that also. He writes up the local items about the circus for the newspaper. He distributes tickets for sale, appoints ticket sellers for the general performance as well as for the side shows, and appoints hawkers to sell refresh- ments. Figure 63 the main entrance, showing ticket offices A parade is undoubtedly the best form of advertisement. The weather may be such, however, that the parade cannot be given, so you ought to have some window cards or posters to 108 HOW TO PUT ON distribute. They should mention the place and time of per- formance, and price of admission, and should be distributed about two weeks previous to date of circus. Besides the window cards, small handbills may be had to distribute the day of the circus. These can either be smaller than the window cards, or printed from the same form. Your local newspaper should contain items about the circus at least two weeks previous to the date of the show. Some good stories may be written about the various animals and special features, and given to the editor. Advertising in the newspaper should begin about a week previous to circus day. Banners giving place, time, and admission price of per- formance should be carried in the parade, as well as banners advertising side shows and prominent features of the per- formance. The general admission tickets can be made by the local printer. Before distribution they should be stamped with some sort of seal, all carefully counted, and put in packages of ten. This makes them more convenient to handle and give out to ticket sellers. Side show tickets can perhaps be obtained from your local moving picture theater manager in the form of rolls. Or they can be ordered from roll ticket manufacturers, whose advertise- ments will be found in almost any theatrical paper. They are numbered consecutively making it easy to keep track of the number sold. The ideal arrangement for handling the side show tickets is to have a ticket seller and a doorman at each side show, but this divides the responsibility of handling the cash among many. By appointing three or four good barkers to sell side show tickets among the crowd, each side show will require but one person in charge, who takes the tickets and calls out the merits of his side show in true circus style. Hawkers may sell ice cream cones, red lemonade, soda pop. peanuts, pop corn, gum and candy. They are responsible to someone in authority who supplies them with their wares. It will be found more satisfactory to supply the hawkers with a given amount of change. They then pay for their wares as they get them, and in checking up turn in the original change. AX AMATEUR CIRCUS 109 Remember that more refreshments will be sold if they are of- fered in sanitary and attractive containers. Renting previously collected sofa pillows to spectators has been found very profitable. Yse only old cushions, and be sure to sew on names of owners so that all will be returned. Handling the cash may become embarrassing if all does not go well. Have as few people handle cash as possible, and be sure that they are painstaking as well as reliable. Have one person in charge of hawkers, who will be responsible for all rev- enue from this source. Side show ticket sellers should be di- rectlv responsible to the advertising manager. General ad- mission tickets must be handled by some one accustomed to mak- ing change. 110 HOW TO PUT ON CHAPTER FOURTEEN A Model Program for Your Circus PROGRAM The Northeast School presents THE COMBINED ADAM HINDPAW AND BARNDOOR BAILHAY RINGLESS CIRCUS (or introduce local name) Director (Name) Ringmaster (Name) A. Grand March. B. Professor Bumplayer's Clown Band. Its name speaks for itself. The composer of the charming airs rendered asked that his name be withheld. C. The Equestrian Act. The famous High School Ponies in their marvelous feats of skill and intelligence. D. The Wonderful Slack Wire Performance. Notice the height at which the performers risk their lives. A feat never performed before by a human being. E. ISADORE, THE IRISH ELEPHANT, AND THE BABY ELEPHANT. The largest and smallest specimens of the jungle ever exhibited. F. The Perfectly Peerless Pyramid Builders in their per- ilous acrobatic feats. G. Katherine, the Arkansas Giraffe. Better known as Katherine, the Obstinate. H. Indian Dance. Direct descendants of the John Smith Tribe. AN AMATEUR CIRCUS 111 I. Lady Zazarabella and Her Group op Untamed Ani- mals. Felis Leo, the Nubian Pie-faced Lion ; Watsa Bruin and Family ; the Hoopmazoops, the Longtail Acrobatic Monkeys. J. The High School Cadets. K. Solos from various members of the Clown Band — by spe- cial request. L. Samantha, the Mysterious Cuban Gook. The only one in captivity. Can add, substract, tell your age and read your mind. M. Clown Dance. Mirthful and musical. N. Professor Angelo Gonzolollo Swindler. Watch for his miraculous transportation trick. O. Nancy, the Siberian Ostrich. She has a keen appetite for watches and other jewelry. P. The Plantation Jubilee Singers. Q. The Ball Game on Mount Ararat. R. The Wedding of the Bear and Lion. S. Dare-Devil Daphne, the Diver's Daughter, in her death-defying dip. T. Stage-Coach Hold-Up. U. Auto Coaster Races. A GUIDE TO THE SIDE SHOWS The Wild Man, recently captured near — {nearby small town). Fuzzifonis, the Ethiopian Beauty. The $25,000 Beauty, who recently won the prize as the most beautiful woman in Paris and who now receives one million dollars per year to travel with this great show and let people gaze at her two hours per week. The Congress of Freaks. The Fat Man, weighing 528 pounds sterling. The only and original Siamese Twins. The Tattooed Man. The Bearded Lady, and others. The Beauty Chorus* a ring with every admission. 112 HOW TO PUT ON The Marvelous Museum, comprising the January Ground Hog, the Swimming Match, the Grave Diggers, the Red Bats from Australia, and many other rare and precious articles loaned by — (local name) for this spe- cial occasion. Madam De Python, the Snake Charmer from the Orient. The Periscope. Brought over from France by — (local name). Have a look. Princess Kanjmar. It is not safe to leave the grounds until you have your fortune told. Tell your troubles to the Princess. She will help you out of the difficulty. Hall op Hilarity. You will scream, you will howl, you will giggle and gasp, and maybe you will even faint — but it's worth it, so come on in. Angelo Gonzolollo Swindler, the man of mystery. The Fat Man. His pathetic tale of how he grew and grew from a tiny baby while all the rest of the family re- mained normal will bring tears to the eyes of all who hear him. Circus Committee (Name) General Chairman (Name) Finance (Name) Tickets (Name) Publicity (Name) Tent and Grounds (Name) Construction of Animals (Name) Costumes (Name) Clowns (Name) Ring Events (Name) Side Shows (Name) • Parade (Name) Ushers and Venders (Name) Properties (Name) Music Finis. How To Chalk Talk By HARLAN TARBELL HPHE person who can do a chalk talk stunt is always in demand as an entertainer. Most people think that the lightning artist has a special gift unattainable to the av- erage mortal. The truth is that knowing how counts more for suc- cess than natural genius. We have here a complete presen- tation of the theory and practice of this fascinating form of enter- tainment, including a discussion of the principles of chalk talking, ma- terials and equipment required, how to arrange a pro- gram, color pictures, facial expressions, various kinds of trick pictures, including evolution and upside-down pictures, landscapes, turning names into faces, dot pictures, famous characters, seasonable pictures, clos- ing pictures. There are fifty-two full-page original illustrations showing just how the crayon pictures are started and completed. A great many of the subjects are humor- ous. These drawings have been chosen by the author from among the most popular items of his own pro- grams, which he has found by experience to be sure-fire. Humorous patter, or talk, is also included for de- livery while making the various drawings. Guided by this book, any amateur entertainer with an artistic bent should make rapid progress as a chalk talker. Attractively bound in art boards and well printed on good paper, with novel cover design. Price, #1.00 T. S. Denison 8C Company, Publishers 203 North Wabash Avenue CHICAGO Chalk Talk Stunts By HARLAN TARBELL XTT'HERE to find plenty of good VV chalk talk pictures is the first (and last) worry of the chalk talk entertainer. Once he has established his popularity in his own community and his lecture en- gagements begin to multiply, he must be constantly replenishing his stock of platform material. For chalk talking, as an avoca- tion of considerable financial profit, is constantly growing in popularity and is being utilized by many classes of people. Lecturers and sales managers find it easier to drive home their points by means of pictures than by the written and the printed word. To meet the needs of all such entertainers and in- structors, this volume has been prepared. It con- tains a great abundance and variety of entertainment material for the chalk-talk artist. After a few prac- ticable suggestions for preparing a chalk talk, comes a succession of pictures with a punch — fifty-five of them, each presented in a full-page illustration — drawn largely from the author's own extensive experi- ence as a chalk-talk entertainer. With each picture goes a full line of "patter" in snappy prose or verse, together with valuable instructions on the art of mak- ing the crayon keep pace with the "patter." Among the novelty stunts are: the lazy man's chalk talk; a novelty telephone stunt; and various clever pictures evolved from chance combinations of a circle, a triangle, and a square. There are also a section devoted to evolution and upside-down pictures, and another section of comical drawings giving the dough- boy's impressions of the funny side of life in war-time France. Everything is made simple and easy for the amateur platform artist. Attractively bound in art boards and well printed on good paper, with novel cover design. Price, $1.00 T. S. Denison 8C Company, Publishers 203 North Wabash Avenue CHICAGO Impromptu Magic, with Patter By GEORGE DE LAWRENCE A SUPREME collection of clever, off-hand tricks that can be presented with little or no prac- tice, require no sleight-of-hand skill and are independent of any apparatus. The only articles called for are ordinary coins, cards, matches, etc., such as are always at hand. An excellent line of pat- ter, in which humor predominates, is included for each trick and there are numerous illustrations. Among the many clever but easy effects taught may be mentioned the lemon and dol- lar bill trick without sleight-of-hand, several baffling mind reading effects, card in the pocket, vanishing drinking glass, penetrating match, traveling coins, four-coin trick, coins out of hat, dime and penny trick, swallowing a knife, torn and restored paper napkin, etc. Dr. A. M. Wilson, editor of "The Sphinx," who contributes the introduction, says : "Many books and booklets on patter, numerous works, little and big, on magic, have been published. But not until this work of DeLawrence has there been one that covered both, and with material that anyone of reasonable intelligence could use success- fully and satisfactorily. Having read the manuscript I congratulate the author on his wise selection of tricks and on the sensible and appropriate patter." Attractively bound in art boards, fully illustrated, well printed on f£ood paper. Price, $1.00 T. S. Denison & Company, Publishers 203 North Wabash Avenue CHICAGO i ' ".""" Dances,Drills and Story-Plays By NINA B. LAMKIN Director of Normal Course in Physical Education at North- western School of Oratory and Physical Education, Evanston, III. FOURTEEN Folk Dances of various countries, suitable for schools, clubs, churches, settlements, etc. Twenty-six simple ^Esthetic Dances, as Dances cf the Seasons, Flower Dances, Brownies, Fairies, Bluebirds, etc. Twenty-four Drills for every day and holidays, unusual, artistic and worth while. Forty-one Rhythms and twelve Story-Plays to be used with primary ages in every-day recrea- tion, in dramatization and in entertainments. There is something in this book to fit any occa- sion where such material is desired. For Boy Scouts, Camp Fire Girls, Gymnasium Work, Play Festivals, Field Days, etc. Everything fully described. Suggestive music named and description of costumes given. Contains eight original photographs, half-toned, of various dances. Beautiful cloth binding, lettering and design in two colors, clear, attractive type. Price, $1.25 T. S. Denison & Company, Publishers 203 N. Wabash Ave. CHICAGO Humorous Plays for Children By GRACE SORENSON OIXTEEN little plays for chil- ^ dren of the upper grammar grades, on topics intimately related to everyday life. The chief merit of the plays is that the characters are, for the most part, real, live, flesh-and-blood children, full of fun and mischief, with plenty of faults to balance their good qual- ities. In theme, treatment, and every other respect, the plays are thor- oughly modern, and with one or two exceptions are enlivened by plenty of droll, whim- sical humor. The sets are simple and easy, being largely home scenes ; and only one of the plays calls for fancy or elaborate costumes. Children will de- light in them, and directors will have no difficulty in presenting them. The plays are as follows : The Closed Gate, The Comic Valentine, The Cross Lady's Christmas, Father's Surprise, The Flower of Pure Gold, Geral- dine's Inspiration, A Grateful Family, The Halloween Ghost Party, The Missing Princess, New Year Reso- lutions, Petty Patch's Rummage Sale, Petty Patch's Strike, A Rainy Arbor Day, A Stubborn May Queen, Their Stepmother's Arrival, and The Valentines' Quest. Beautiful cloth binding, lettering and de- sign in two colors, clear attractive type. Price, #1.00 T. S. Denison 8C Company, Publishers 203 North Wabash Avenue CHICAGO Juvenile Comedies By GRACE SORENSON piFTEEN amusing little plays for the teen ages, dealing in breezy, humorous fashion with the problems and diversions of every- day children. Each play has a well-conceived plot, with plenty of lively action and suspense, and, in some cases, a surprise ending, which imparts a pleasant little thrill to audiences and players. In all but one play, simple, workaday costumes are the rule. Two of the plays have school- room settings, and all are easily staged. A few represent special holiday material. The plays are as follows: The Adopted One, The Golden Easter Egg, The Halloween Porch Party, The Left-Over Boy, The Little Cousin, The Meriwether Fortune, Miss Bennett's House Party, The Mistake, The Most Beautiful Valentine, The Mystery of the Buried Box, The New Teacher, The Runaways, The School Clown, The Spooky Halloween, The Stupid Christmas. Attractively bound in art boards and well printed on good paper, with novel cover design. Price, #1.00 T. S. Denison 8C Company, Publishers 203 North Wabash Avenue CHICAGO Jfle High School J IStuntShow Jcarhlval 1 IB IB The High School Stunt Show and Carnival By WILLIARD B. CANOPY pjERE is exactly what you need for your high school circus or carnival or stunt show. It offers complete practicable information on how to advertise the show, how to organize the school committees, and how to plan the parade, estab- lish the food and candy booths and the country store, and manage the various side shows. Thirty-four stunts and acts and nineteen side shows, all guaranteed fun-makers, full of novel and entertaining qualities, are described in detail, many of them carrying a full line of comedy patter. A burlesque strong man act, an uproariously funny scene from "William Tell," a comical kitchen band, a fearful and wonderful hot dog machine — these are a few of the stunts that commend the book to carni- val directors. All are simple and easily performed, and unhampered by unduly elaborate and expensive equipment. Partial Contents: General Organization; The Parade; Fortune Telling Booth; The Monkey Cage; Automobile Trouble; The Baby Show; The House of Terrors; The Farmers' Quar- tet; Horse Race; Mephisto, the Educ?ted Horse; The Coun- try Store; The Museum; Gallery of Famous Pictures; Hot Dog Machine; Radio Act; A Trip Around the World; Scene From William Tell; Strong Man Act; The Faculty Graveyard. Attractively bound in art boards and well printed on good paper, with novel cover design. Price, #1.00 T. S. Denison & Company, Publishers 203 North Wabash Avenue CHICAGO Here's for a Good Time By BEATRICE PLUMB A LARGE and diversified collec- "" tion of parties for the ad- vanced teen ages and adults, chron- ologically arranged to cover every month in the year. Offers par- ties for every important holiday, for miscellaneous gatherings, for church socials, for club celebra- tions and similar entertainments, with full details as to decorations, menus, and the like. Hostesses, young and old, will find this vol- ume a gold mine of interesting and practicable entertainment ideas, and a challenge to all other party books on the market. Contents: A Flying Time Party; A Big Time Party; A Calendar Supper; A Baby Party; Love-m-a-Cottage Bazaar; By George— A Party!; A Be-My-Valentme Party; Have-a- Heart Social; An Easter Party; An Irish Riot; Mad-As-a- March-IIare Party; Good Luck Banquet; A Spring-Is-Sprung Party; Simple Simon's April First Party; April Fool Holds a Party; A Spring-Cleaning Party; A Rainbow Social; A May-Day Party; A Progressive Little Party for Mothers Day; Plans, Grave and Gay, for Mother's Day; A June Bug Party; A Rose Shower for the Bride-to-Be; A Vacation Trip for Stay-at-Homes; Bon Voyage Party; A Cracker-Jack Party; A Keep Cool Party; Fourth of July Jamboree; A July Fourth Circus; A Gypsy Surprise Party; A Japanese Lawn Party; A Back-to-the-Farm Party; Hobo Convention; A Beach Party; A Fall-Together Party; A Back-to-School Party; A Canning Party; Labor Day Picnic; A Spectral Spree; Halloween Hor- rors Party; An Indoor Nutting Party; The Cat's Meow; A Halloween Hunting Party; A Fine Evening Party; An Old Time Market; A Many-Happy-Returns Party; A Puritan Thanksgiving Party; A Merry Christmas — And How; A Christmas Bells Party; A Big-Parcel Party for Christmas; The Birds' Christmas Tree Party; Christmas Party Plans, and supplementary material. Attractively bound in art boards and well printed on good paper, with novel cover design. Price, $1.50 T. S. Denison 8C Company, Publishers 203 North Wabash Avenue CHICAGO TI — 938 V UNIVERSITY OF ILLINOIS-URBANA