Dear nightjar,
I have prepared for you the following brief history of the circus,
with an emphasis on Britain and the Hanlon Brothers.
Origins of the Circus
---------------------
The word "circus" is Latin for "ring" or "circle", and has referred
since its earliest usage, some two and a half millennia ago, to popular
entertainment of a non-narrative and highly physical variety, performed
outdoors or under a great awning in a circular field surrounded by
rising seats. The substance of the performances has changed over the
centuries just as society's idea of what constitutes good entertainment
has undergone a profound shift from the dire and cruel to the daring
and lighthearted.
The greatest circus venues of ancient times were the Circus Maximus,
which showcased perilous chariot racing, and the Colosseum or Coliseum,
a showcase for lethal gladiatorial combat.
"The Roman circus was a round or oval structure with tiers of seats for
spectators, enclosing a space in which the races, games, and gladiatorial
combats took place. [...] The games, aside from races, were brutal and
bloody, and for this reason the Greeks, even under Roman domination,
never really accepted the circus."
Columbia Encyclopedia: circus
http://www.bartleby.com/65/ci/circus.html
"A third of a mile long and 150 yards wide, the Circus Maximus allegedly
held 250,000 people. The remains suggest that there may have only been
150,000 seats there; however, these people had come from all over the
empire to watch these races, sometimes over great distances. To turn
anyone away would surely incite a riot. Presumably a large number stood,
and a greater number sat on the hills surrounding the circus. That these
Romans would go so far out of their way to watch horse races begins to
hint at the depths of their obsession, which, like most public obsessions,
was not shared by all. [...] The wise and judicious ruler would notice
that even though the public redressed their grievances, they shut up
when the horses came out. Reward the restless with entertainment, and
they'll leave you alone."
History House: "Circus Maximus: Rome's Astrodome"
http://www.historyhouse.com/in_history/circus_maximus/
"The Coliseum had a canvas roof - the velarium - raised and lowered by
a specially trained team of Roman sailors known for their skill with
rigging ships. The canvas "big top" had a large hole in the center to
admit more light.
"The Coliseum's spectator capacity was about 50,000 person---dignitaries,
their guests, their slaves, a select number of common people, and
"foreigners"---people who did not hold Roman citizenship. Commoners,
slaves and foreigners were seated right under the canvas roof, where it
was hottest."
Crystalinks: Ancient Roman Architecture
http://www.crystalinks.com/romearchitecture.html
Many thousands of slaves and animals were required annually to sustain
a Roman circus. The long and arduous journey to the ring, undertaken
forcibly and often including a Mediterranean sea passage, was, for these
poor souls and miserable creatures, a one-way affair. Today, we think
most often of the circus as a traveling company of skilled performers
and trained animals who not only arrive in town but also, after some
days of spectacle and provisioning, take to the road again. This idea
was not formalized until recent centuries, for entertainments of the
kind did not take place on an important scale between the fall of the
Roman Empire and the beginnings of the Industrial Age.
Nonetheless, the traveling performers of the Middle Ages form a link
between the grand, sadistic circus games of decadent Rome and the
itinerant acrobatic spectacles of a newly energetic Europe. Conventional
minstrels and actors as well as jugglers, jesters, bear baiters and
conjurors traveled alone or in small groups between medieval towns,
taking advantage of market days to draw a crowd from whom they hoped to
elicit donations commensurate with their skill. These mobile entertainers
lacked the professional management and infrastructure of the later true
circuses, but they were forerunners of the circus art. They are still
with us today in the form of buskers who entertain us in subway stations
and on pedestrian promenades.
"In the Middle Ages and Renaissance, the main performers of music were
the minstrels or bards, singing ballads and telling epic tales wherever
they went. Many courts had a different sort of entertainer as well,
a jester or fool, whose role was to amuse the gentry. Oftentimes there
were theater performers, puppeteers, and even acrobats who would travel
and earn their way by performing."
Redwall Troupe: Entertainers
http://www.snowspine.com/troupe/entertainers.html
"Mountebanks, jugglers, conjurors and minstrels of the Middle Ages
amused the aristocracy. Many of these performers were also traveling
"street buskers." They frequented the market places and entertained
the ordinary folk. The commedia dell'arte of the 1600's in Europe marked
the first appearance of companies of professional entertainers."
History and Origins of the Side Street Circus
http://www.sidestreetcircus.com/SSCORIGINS.html
Early Circus in Britain
-----------------------
According to widespread consensus, the first rigorously organized circus
since Roman times was established by Philip Astley, an English cavalryman
who went into show business after returning from service in the French
and Indian Wars of North America. His trained horses and agile riders
performed equestrian tricks in a ring before a paying audience. The
horsey entertainment gradually diversified into acrobatics, comedy,
and dancing dogs.
"The first modern circus in Europe premiered on the south bank of the
Thames close to Westminster Bridge in the late 18th century. Philip Astley
(1742-1814) was the son of a cabinet-maker from Newcastle-under-Lyme in
Staffordshire. At 17, he joined Colonel Eliott's Fifteenth Light Dragoon
Regiment, then rose to become sergeant major and served in the French
and Indian War in what is now Canada. Along the way, he developed his
skills as a rider.
"In 1768, he opened a riding show in south London: teaching in the
morning, trick-riding in the afternoon. He did his shows in what he called
a "circus": a round performance area ringed by seats. The tightness of
the circle (42ft in diameter) was perfect for creating the centrifugal
force that kept him on his horse during more creative manoeuvres. It is
still the standard diameter used today.
"After a couple of years, jaded London crowds wanted something new, so
Astley threw in some jugglers, a clown or two, a few tumblers. Faster than
you can say "Ladies and Gentlemen", the modern circus was born. Astley
performed at Versailles for Louis XV and soon established circuses on
the Continent."
The Independent: The complete guide to the circus
http://travel.independent.co.uk/themes/culture/story.jsp?story=480447
"He was born in Newcastle-under-Lyme and his father was a cabinetmaker. At
the age of 9, he apprenticed to work with his father, but Astley's dream
was to work with horses. So he joined Colonel Eliott?~@~Ys Fifteenth Light
Dragoon Regiment when he was 17, and later became a Sergeant-Major. He
also served in the French and Indian War and his army service brought
him into contact with professional trainers and horse riders. Astley
himself was a brilliant rider.
"Astley had a genius for trick riding. He saw that the trick riders
were paid much attention by the crowds in Islington, and he had an idea
for opening a riding school in London, where he could put on shows of
acrobatic riding skill.
"In 1768 Astley opened a riding-school in London, England, south of the
Westminster Bridge. He taught in the morning and performed his "feats
of horsemanship" in the afternoon. Astley called the arena a circus
because of its shape, and Astley chose it for two reasons. First of all,
it was easier for the audience to keep the riders in sight. Secondly, the
ring, as the circus was better known, helped riders through generation
of centrifugal force, which allowed them to keep their balance whilst
standing on the backs of their galloping horses. After a few years,
he added a platform and seats to his ring and roofed the circus over.
"Astley's original circus was 62 feet in diameter, and later he settled
it at 42 feet, which has been an international standard for circuses
since then."
Wikipedia: Philip Astley
http://en.wikipedia.org/wiki/Philip_Astley
Another famous circus of the time is the Royal Hanneford Circus,
the lineage of which has survived to the present day. It began with
a solitary English juggler only ten years after Philip Astley opened
his riding school, and continued through its purchase by the Ringling
Brothers to become a North American touring company specializing in
animal stunts. Like many circuses of its ilk, the Royal Hanneford is
currently beleaguered with charges issued by animal-rights activists
and federal agents who feel that Roman standards of animal care cannot
be countenanced in modern times.
"The earliest origins of Hanneford involvement in the circus can be
traced to Edwin Hanneford, a foot juggler who performed on London street
corners and at fairs. Among the honors bestowed on Edwin was a summons
to perform before King George III in 1778, in a contest to determine
who was the best juggler in England. Having become preoccupied with
other matters during the competition between Edwin and Walter Scott,
the King never delivered a verdict. [...]
"The Hanneford family first toured as a troupe in 1807. All successive
generations of Hannefords performed in some capacity, and by 1903,
the family had its own show, the Hanneford Royal Canadian Circus, and
was touring the British Isles by horse drawn wagon and performing under
canvas. During the winters of these early seasons, they would appear
with other featured acts with indoor shows on the European continent. [...]
"While performing in Spain in 1915, the Hannefords were seen by John
Ringling. Mr. Ringling wished to get the Hannefords signed to the
Ringling Brothers-owned Barnum and Bailey Circus. To do so, he had to
buy the entire Hanneford Circus."
Sahib Shrine: History of the Royal Hanneford Circus
http://www.sahibshrine.org/circus/hanneford.htm
"Royal Hanneford Circus has failed to meet minimal federal standards
for the care of animals used in exhibition as established in the
Animal Welfare Act (AWA). The United States Department of Agriculture
(USDA) has cited Royal Hanneford numerous times for failure to provide
veterinary care and meet minimum space requirements. An elephant with
Royal Hanneford rampaged during a performance, causing spectators to
run for safety. Contact PETA for documentation.
"Animals used in recent acts: Elephants and bears forced to play
basketball."
PETA: Circuses: Royal Hanneford Circus
http://www.circuses.com/fact-royal.asp
In addition to performing animals, the circuses of the 18th and 19th
centuries featured jugglers, dancers, acrobats, and eventually impresarios
to orchestrate the lot. While the American circuses became ever more
lavish, the greatest ones featuring acts so numerous that one ring did
not suffice, necessitating the addition of a second and even a third ring,
English circuses remained for the most part concentrated in a single ring.
"While other acts were added to the show, the riding act was still the
main attraction and this led to another standard feature of the modern
circus - the ring- master. Though today the ringmaster tends to be the
announcer, occasional foil of the clowns, and generally keeping the show
flowing, originally his job was to keep the horses running correctly
around the ring as the rider worked his tricks - hence his traditional
riding costume. [...]
"During the 19th century European circuses and American circus began
a divergence. The circus in England, and the other parts of Europe,
continued in much the same manner as before, that is, a single ring. Towns
are closer together so most traveling shows could travel with horse
drawn carriages as they made their way around the country. Tent shows
remained compact as the audiences, drawn from the surrounding villages,
tended to be small, albeit appreciative. In the United States, however,
conditions were very different. Distances between communities were
much longer. Fortunately the new railways allowed traveling shows to
commute the vast distances more effectively - the great train shows
were born. Also, as the shows tended to be tied to the railway lines
the audiences were drawn from larger areas and to accommodate the bigger
attendance's the circus owners added extra rings with bigger and bigger
tents - or tops. The small circus show became an event with a large
cast of performers, more extravagant animals, production numbers, and
side shows. From this point forward the United States led the way and
European shows, though still tending towards a single ring, began to
follow with their own more extravagant productions."
Hanneford Family Circus: A brief history of the EARLY CIRCUS
http://www.hanneford.8m.com/history/early_history.htm
The Hanlon Brothers
-------------------
Like the Royal Hanneford, the Hanlon Brothers circus began its productions
in England and ended up in the United States. And like the Cirque
du Soleil today, the Hanlons eschewed animal tricks in favor of human
acrobatics. From the mid- to the late 18th century, they performed their
feats on the ground as well as aloft, using first the high wire familiar
from medieval times and then a novel French import, the trapeze. Due to
the absence of dancing dogs and conventional clowns, some contemporary
observers held the Hanlons' spectacle to be an alternative to the
circus and not a refreshing variant of it. Yet the most popular Las
Vegas circus of the moment, the Montreal-founded Cirque du Soleil,
is also strictly acrobatic.
"The Hanlon Brothers were a protean family of nineteenth-century
performers renowned for an array of aerial, gymnastic, and theatrical
specialties. Hailing from Northern England, the family spent their early
career cris-crossing the globe performing a dizzying series of daredevil
routines. Following a tragic mishap, in the late 1860s the family turned
to the production of startlingly macabre pantomimes, replete with violent
slapstick comedy. Lasting fame came to the Hanlons in 1879 when they
unveiled the astonishing Le Voyage en Suisse. Settling in Cohasset,
Massachusetts, the surviving brothers eventually withdrew from the stage
and spent the duration of their career managing their long-lived fairy
pantomimes Fantasma and Superba.
"Borrowing heavily from English pantomime and the French féerie, the
Hanlons evolved a unique theatrical style which combined breath-taking
acrobatics with trick scenery, novel illusions, and wild, often violent,
knockabout comedy. In essence, the Hanlons' pantomimes were pure visual
spectacle. Yearly, they were revamped, with new thrills added to loosely
concocted plot lines. Each ?'new' production was eagerly anticipated
by their audiences, as a 1905 writer stated in the New York Times:
'The country towns await the Hanlons' visit like the circus' as an
annual institution.'"
Allegheny College: Mark Cosdon: Research Interests
http://webpub.allegheny.edu/employee/m/mcosdon/Research.htm
Although the Hanlon Brothers are no longer extant, their spirit
purportedly lives on in an American performing troupe called the
Hanlon-Lees, who take after the Hanlon Brothers in name but not in
ancestry.
"They looked back into the past and found the Hanlon Brothers, a family
of performers who had traveled the world at the dawn of the twentieth
century. These early vaudevillians had thrilled audiences everywhere
with their daring stunts. Elaborate, multilevel stage sets combined
with acrobatics, comedy, juggling and death-defying feats kept patrons
on the edges of their seats. Stagecoaches and wagons were overturned,
crashing noisily to the stage while their drivers leaped and rolled from
the wreckage, to the wild cheers of the awestruck audience. While on
tour in England, the Hanlon Brothers made the acquaintance of 'Professor'
John Lees, a superb juggler and acrobat in his own right, and established
a partnership under the banner 'The Hanlon-Lees Troupe.'"
The Hanlon-Lees Action Theater: Who We Are
http://hanlon-lees.com/
The Hanlon-Lees' history of the original Hanlons, spanning three pages and
3500 words, is a valuable document. It describes in a learned yet lucid
fashion the performance ethos of the Hanlon Brothers as a bridge from
the rough-and-tumble medieval English harlequins to the agile cinematic
slapstick of Buster Keaton as well as his more masochistic, less able
counterparts the Keystone Kops, Laurel and Hardy, and the Three Stooges.
"The Hanlon-Lees were originally the six Hanlon brothers, born in England
between 1836 and 1848, but of Irish ancestry. Before the age of ten,
the older brothers became students of the well known acrobat, "Professor"
John Lees, under whose tutelage they became extraordinary tumblers. [...]
"Having grown up performing as human projectiles in Professor Lees's
risley act, the Hanlon brothers naturally excelled at throwing themselves
about. William Hanlon, for example, performed back somersaults from the
shoulders of one brother to those of another. They likewise perfected
a series of daring pyramids. When Jules Léotard (1838-1870) introduced
the flying trapeze to Paris in 1859, the Hanlons dispatched one of their
number to France to take notes on this brand-new circus act. [...]
"One of their most popular feats was the "perilous ladder," in which
one brother balanced a long ladder while the others performed acrobatic
stunts at the top. It was while performing this feat in Cincinnati in
1865 that the eldest brother, Thomas, fell and suffered serious head
injuries. Bone splinters in his brain destroyed his sanity, and on
April 5, 1868, he intentionally dived headfirst into an iron stovepipe,
smashing his skull and killing himself. [...]
"In terms of split-second timing and perfect technique, A Trip to
Switzerland was clearly extraordinary. But the clowning of the Hanlon
Lees was said to have been every bit a match for their acrobatics. "An
athlete might accomplish much of the rougher and more practical fun,"
commented another London critic, "but only humourists could succeed
in the lighter and more delicate touches of mute comedy. Gifted with
most expressive faces, the Hanlons create laughter at every look and
movement, and at last give us pantomime with a meaning in it... The term
of 'clowning' ceases to be a reproach when it is brought to such a pitch
of excellence as this."
The Hanlon-Lees Action Theater: The Original Hanlon-Lees
http://www.hanlon-lees.com/orig.html
I have found no evidence that the late Tommy Hanlon Jr., the famed
Australian circus impresario of American birth, is related to the
original Hanlon Brothers. Note that Tommy Hanlon Jr. hails from West
Virginia, which is a coal-mining region in the more northerly reaches
of the American South, whereas the Hanlons settled in Massachusetts, a
state in New England, the definitively northeastern part of the United
States. This circumstance does not preclude the possibility that he is
descended from the acrobatic Hanlons, but I would find it curious if
such an interesting fact were not mentioned in the press. The following
is a detailed obituary of Tommy Hanlon Jr.
MilesAgo: Tommy Hanlon Jr, Entertainer
http://www.milesago.com/People/hanlon-tommy.htm
Modern Circus in Britain
------------------------
The circus is a spent force in Britain today. The pressures of television
and animal-rights activism have conspired to drive the British big
top out of business. As a personal matter, it pleases me to see that
animal entertainment is on the wane. Animals employed in circuses are
kept in prison-like conditions and often trained with cruel methods,
tantamount to torture, that even the last of the ancient Romans might have
disdained. Anyone who wishes to lament the decline of the animal-based
circus should first consider the information and videos presented by
the PETA.
"Ever wonder how animal trainers get 8,000-pound elephants to stand most
unnaturally on their heads, or tigers to jump through rings of fire that
they would normally run away from? We went behind the scenes with our
hidden camera to expose the circus industry's tricks of the trade."
CircusWatch: Take A Sneak Peek Under the Big Top
http://www.circuswatch.com/
"The fact is, animals do not naturally ride bicycles, stand on their
heads, balance on balls, or jump through rings of fire. To force them
to perform these confusing and physically uncomfortable tricks, trainers
use whips, tight collars, muzzles, electric prods, bullhooks, and other
painful tools of the trade.
"We applaud trapeze artists, jugglers, clowns, tightrope walkers, and
acrobats, but let?us leave animals in peace."
Circuses.com
http://www.circuses.com/
The British circus today might be said to have returned almost entirely
to its medieval state. The circus arts remain with us in the form of
busking: itinerant clowns, jugglers, mimes, and contortionists perform
for our pleasure in parks and public squares. What circus companies do
exist are small and local in their focus, often offering instruction in
their craft as an athletic or therapeutic activity.
"We offer a diverse artistic programme that includes the UK's only
degree level education in the circus arts; professional development
opportunities for aspiring and established performers; participatory and
leisure activities for young people and adults; and a varied performance
programme, including the annual Circus Space Festival. We also provide
affordable workspace for related arts companies and opportunities for
private and public sector organisations to use circus skills as a staff
development tool."
The Circus Space: About Us
http://www.thecircusspace.co.uk/pages/frames.htm
"CCC runs weekly workshops at the Cambridge Drama Centre, performs and
teaches all around Cambridge and the surrounding area throughout the
year. In the past we have organised large-scale Community Shows in Spring,
performed fundraising Christmas Cabarets and have run five Cambridge
Juggling Conventions. We are grant-aided by Cambridge City Council Leisure
Services and we also raise funds through our performances and workshops."
Cambridge Community Circus: About Us
http://www.chaos.org.uk/ccc/about.htm
"The Company acts as an information base for new and existing
performers. This involves offering career focus advice and extends to
support of other arts.
"Acrobatic Course in March and October of each year, the Company offers
a Training initiative, which delivers a strong foundation in a number
of disciplines including: Acrobatics, Physical Theatre, Capoeira,
Acro-Balance, Dance & Movement and Trampoline.
"Touring includes dates in Great Britain, Germany, Holland, Singapore,
Canada and Brazil."
Polichinelo Circus: About Us
http://www.polichinelocircus.co.uk/
"Inspired by the early shows of Archaos and Cirque du Soleil, Mamaloucos
were formed in 1994 as an answer to the lack of large scale new circus
work in the UK."
Mamaloucos Circus [click on History for context of above quotation]
http://business.virgin.net/mamaloucos.circus/
"The Straitjacket Circus are an exciting modern circus performance
group. We steer clear of the hum-drum and pride ourselves in presenting
family shows and walkabout acts which excite enthral and entertain.
"We maintain a link to the past while looking to the future of new circus
and street arts and offer an unbeatable blend of circus performances,
sideshow stunts, street shows, stiltwalking, unicycling, sword swallowing,
and walkabout entertainment."
Straitjacket Circus
http://www.straitjacketcircus.co.uk/
The best circus acts in Britain are, one must regretfully ascertain,
not indigenous but imported. As English acts once traveled to the United
States to make their fortune, so the great North American circuses bring
their talents to England. The most renowned of these is the Canadian
invention Cirque du Soleil, which features acrobatics and dramatics to
the exclusion of all animal training.
"Emphasizing the use of humans as performers, Cirque du Soleil does
not make use of animals. Its performances combine elements of street
performances, circus, opera, and rock music. Acts include contortionists,
jugglers, feats of strength, clowning, and trapeze artists."
http://en.wikipedia.org/wiki/Cirque_du_soleil
Wikipedia: Cirque du Soleil
Cirque du Soleil's performances are staged and rehearsed like a
theatrical play, each with a special theme and indeed a plot. Their
Dralion performance, a Chinese-European acrobatic performance, appears at
the Royal Albert Hall in early 2005, from January 6 to January 30. The
Cirque du Soleil is perhaps the closest thing we have today to a Hanlon
Brothers performance.
Cirque du Soleil's Dralion
http://www.thisistheatre.com/londonshows/cirquedusoleil.html
Cirque du Soleil: Founder's Message
http://www.cirquedusoleil.com/CirqueDuSoleil/en/company/default.htm
Further Resources
-----------------
You may want to post a message to the History Message & Discussion
Board of the Circus Historical Society, which specializes in the American
circus. Note that genealogical questions are forbidden on this board. This
means that you ought not to post a message inquiring about the heredity
of Tommy Hanlon Jr., but a question about, say, his circus experience
prior to arriving in Australia would be welcome.
Circus Historical Society: Circus History Message & Discussion Board
http://www.circushistory.org/Query03.htm
Circus Historical Society: About
http://www.circushistory.org/index.htm#CHS
There is a less formal association called the Circus Historical Society
of Great Britain, existing in the form of an MSN Group.
MSN: Circust Historical Society of Great Britain
http://groups.msn.com/CIRCUSHISTORICALSOCIETYOFGREATBRITAIN/_whatsnew.msnw
A book devoted to the Hanlon Brothers is listed on the British version
of Amazon but not available from them. One copy is currently in stock at
the American Amazon. Beware of shipping fees and customs duties before
you decide to order!
Amazon.com: "The Hanlon Brothers: Their Amazing Acrobatics, Pantomimes
and Stage Spectacles"
http://www.amazon.com/exec/obidos/tg/detail/-/0916638820/002-9475913-2071238?v=glance
Amazon.co.uk: "The Hanlon Brothers: Their Amazing Acrobatics, Pantomimes
and Stage Spectacles"
http://www.amazon.co.uk/exec/obidos/ASIN/0916638820/qid%3D1098757220/026-3063347-0570856
A British firm offers the following vintage illustrated memoir of the
English circus.
JoylandBooks: "The English Circus and Fairground" (Methuen, 1947)
http://www.joylandbooks.com/books_secondhand/englishcircus.htm
Finally, here is a pair of biographical compendia covering the Victorian
circus.
JoylandBooks: "Victorian Arena: The Performers; A Dictionary of British
Circus Biography, Volume 1" (Lingdales, 2000)
http://www.joylandbooks.com/books_new/victorianarena1.htm
JoylandBooks: "Victorian Arena: The Performers; A Dictionary of British
Circus Biography, Volume 2" (Lingdales, 2000)
http://www.joylandbooks.com/books_new/victorianarena2.htm
I enjoyed researching the history of the circus on your behalf. If you
feel that any part of my answer requires correction or elaboration,
please inform me through a Clarification Request so that I have a chance
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Regards,
leapinglizard |
