What is Today? Explorations through 250 Years of British Circus by Professor Vanessa Toulmin In the Beginning

In 1768 a uniquely British invention created from popular in late Georgian was born. The innovator was Philip Astley who with his wife Patty, a gifted equestrienne, and his horse Gibraltar, gave riding displays at Glover’s ‘Halfpenny Hatch’ between Neptune and Angel Streets in April 1768. On this site Mr and Mrs Astley developed scenes of horsemanship and later incorporated older forms of entertainment such as , performers from the street and to draw the crowds. It was this combination of speciality skills that developed into the circus entertainment we recognise today.1

As we celebrate 250 years from when modern circus combination of performance genres within a ring was created, the narratives and histories that are of a set diameter quickly became global and being revealed, especially in the , by the early nineteenth century circus could be demonstrate the complex and global history of the found in thirteen different countries including the genre that is circus; an evolving language of visual United States in 1793, Canada in 1797, Mexico in and physical performance.2 The Astleys settled at 1802, Russia in 1816. Within the European and Westminster Bridge Road where initially they used an North American traditions evolutions in popular open-air circular arena, then built a partially covered entertainment from the music hall to the menagerie ‘amphitheatre’ styled ‘Astley’s British Riding School‘ tradition of previous centuries played a key part which opened in 1770. Some historians take this in changing and challenging the concept of what as the date from which the Astleys first presented is circus. Incorporating the performance styles of circus.3 Since then the journey of modern circus has the cultures it travelled and adapted to, circus has been truly remarkable. However, its development is evolved and incorporated many more elements not a linear trajectory but one marked by periods with each generation of proprietors and artists of decline and renewal, divergence of presentation challenging and innovating the art form. It is truly and concepts and reinterpretations by successive a performance genre that one can truly run away generations of practitioners. to and influence with innovations introduced by impresarios and producers from non-circus families Circus from its onset was international with Astley sitting alongside traditional family in its touring to Ireland, Belgium, France and many other development and artistry. Nineteenth and twentieth countries and incorporating artists from in century circus performers became household names, his shows.4 Astley and his troupes operated within with the proprietors feted by royalty. the existing entertainment industries of the time. Alongside his Amphitheatre in London he opened Today, European, Russian, Chinese and South temporary wooden circuses at fairs, pleasure American performers are the staple of the classic gardens and festivals. Astley developed scenes of tenting shows and Canadian, Australian and French horsemanship with his horse Gibraltar performing artists dominate the contemporary scene. French- tricks such as taking a boiling kettle from a blazing Canadian , arguably the largest fire and filling a goblet and bowing to the King. The circus ever to perform internationally, employs 4000 equestrian show played in provincial theatres, in artists with twenty-two shows operating globally. Paris in 1772, in the open-air Circus has adapted by opening in villages and Silhouette of Philip Astley taken in Bristol in 1772, opened the halls, stadiums and theatres, playing to successive from Astley’s System of Equestrian Education, 1801. NFCA University New Riding School, Dublin on generations and, despite facing challenges and of Sheffield Library 17 December 1773. Astley’s sometimes hostility, always providing an arena where

3 Professor Vanessa Toulmin Chapter 1: In the Beginning Cast of Cirque Berserk! 2018.Courtesy of Exterior View of Astley’s Martin Burton, Amphitheatre as it Zippos Circus appeared in 1777 from an original drawing by William Capon 1777. Tibbles Circus Collection Ringling Museum of Art

spectacle of The Greatest Show on Earth (1952) and critical context.9 As Marius Kwint writes, The Greatest Showman (2017). Actor and former artist Burt Lancaster appeared in possibly “Most circuses fail to engage in the greatest circus film, Trapeze (1956) in the real Cirque D’Hiver in Paris. For many generations Walt a conscious dialogue with their Disney’s Dumbo is the eternal circus classic, now own past and so risk becoming talent can shine. Circus today has moved beyond John Galliano and Marc Jacobs have taken the being reimagined by Tim Burton. 2008 saw two slaves to a dwindling repertoire the ring and back to the ring, and can be found glamour and styling of the circus costume. Writers huge circus inspired stadium tours and albums - of hackneyed traditions…”.10 in the fields of Glastonbury, West End Theatres and have embraced the circus as a source of inspiration; Take That with The Circus and Circus Live and multi-purpose stadiums. Charles Dickens and his Mr Slearly in The Circus Starring Britney Spears. Hard Times (1854) and Sergeant Troy’s dramatic Additionally, as the linear national history sometimes “Circus, is in the words of Peta Tait, reappearance in the circus in Thomas Hardy’s Far However, in the wider history of the circus the role overshadows the cultural and social context of circus, from the Madding Crowd (1874) are two nineteenth of gender and race, along with local stories are some contemporary circus companies deny any performative, making and remaking century highlights. Angela Carter’s Nights at the often overlooked in the spectacle of the sawdust relationship between the historic or classic form, 5 itself as it happens”. Circus (1984) and Enid Blyton’s Mr Galliano’s Circus and spangles and the narratives of the families claiming a lineage of fifty years only.11 Instead they (1938) are examples in the twentieth century. Artists or businesses who produce the attractions. The ally themselves to a past more recent and relevant It incorporates dance, new media, is performed such as Degas, Renoir, Picasso, Seurat, Matisse, historical circus is often presented through American to their practice. More importantly, the British origin with or without animals, can contain a narrative Toulouse Lautrec, Jack Yeats and Dame Laura entertainment, dominated by male impresarios such of this universal performance genre is neglected and based on immersive theatre and is fused with the Knight returned repeatedly to its other worldliness as Barnum and the Ringling Bros, the self-claimed the names of Philip and Patty Astley largely forgotten. skills of practitioners outside the traditional circle of and beauty. Film provided perhaps the greatest showmen who trademarked ‘The Greatest Show on the family-based performance. Today circus is not visual representation of the circus, ranging from Ear th’. 8 Recent important scholarship by Peta Tait, This essay aims to provide a curatorial overview always limited to the concept of a thirteen metre the macabre fascination of Tod Browning and Janet Davies and others has started to shift this, but of how the research that underpins Circus! Show diameter ring or forty-two foot ring finally settled Lon Chaney in The Unknown, (1927), the terror of the majority of circus histories are recorded through of Shows – three interlocking exhibitions in on by Philip Astley and his contemporaries, but has Hammer’s Vampire Circus (1971), to the Hollywood the lens of the larger institutions, both pictorially and three different venues – is revealing new stories, always incorporated at its heart exceptional human through narrative, this canonical approach without a reinterpreting histories within a contemporary and bodily skills being pushed to the extreme for the local context for a modern audience and arguing gratification and entertainment of the audience for intersections and dialogue within the global regardless of gender and race.6 circus family. Covering the place of women and the history of black performers, the life stories examined Today over fifty contemporary and classic circus in detail relate to material exhibited in each specific companies operate in the United Kingdom, ranging venue and can be used as an additional layer from No Fit State who transferred their immersive through which to view the exhibitions. It seeks to act talents to the ring for LEXICON, to Martin Burton of as a guide to further research and investigation and Zippos Circus whose theatre style Cirque Berserk is articulate the curatorial research and findings as part designed for the proscenium arch stage.7 Alongside of the 250th anniversary. It attempts to bring together home grown troupes such as the Invisible Circus from hidden histories that can inform and inspire because: Bristol are international companies and performers from Africa, South America, North America, For the performer or producer of circus or of theatre, , Asia and Europe who regularly tour the as for any creative arts practitioner, the past offers United Kingdom. From high art to popular music, an inexhaustible supply of refreshing source-material the circus has interfaced with other performance to inform and inspire contemporary practice…12 genres, visual culture, high fashion and design. Invisible Circus. Blackpool 2012 Fashion designers including Vivienne Westwood, Carynville Invisible Circus Bristol 2008. Photograph: Richard Davenport

What is Circus Today? - Explorations through 250 Years of British Circus Professor Vanessa Toulmin 4 5 Professor Vanessa Toulmin Chapter 1: In the Beginning Woodcut of Mrs Astley taken from A Short Description of the various Feats of Activity The First Lady exhibited at Astley’s British Riding-School, London, 1773. Tyne & Wear Archives, Arthur Fenwick Collection, Accession of Circus 944/150.

Much has been written about Philip Astley and two new biographies dedicated to him appeared in 2018.13 However, his wife Patty, who from the first advertisements is headlined alongside Philip as ‘Mr and Mrs Astley will perform’ and whom I have deliberately reintroduced into the text as part of a reshaping of the originating narrative of circus, has been previously written out of the historical record or reduced to a footnote.14 Described as either the wife of Philip or later the mother of John, with even her name and identity still debated by some historians, the real story of Patty Astley (nee Jones) equestrienne rider par excellence, first lady of circus and an accomplished performer deserves to be told - in her husband’s words… “my wife who will finish the show”.

Patty Astley was born Martha Mary Polly Jones By 11 June the importance of Patty in the show in Flintshire in 1741. She married Philip Astley on is demonstrated by Astley’s ditty, reproduced by 8 July 1765 at the Church of St George in Hanover M. Willson Discher in 1937 but published in the Square, London. Details of her early life and family Gazetteer and New Daily Advertiser, in which Astley An early handbill in the British Library from 1771 The London papers were quick to bestow praise on are being researched by the Philip Astley Project, but concludes the show with… illustrated with a crude wood cut of Astley on two Patty, especially important at a time when Charles on the marriage license she is stated as a spinster horses proclaims: Hughes and his wife were operating a rival concern of the parish of St George, with Philip listed as a “When you have seen, all my bills less than a few hundred yards away, featuring Mrs gentleman of the Parish of Egham Surrey.15 In April Horsemanship. This and every day, at six o’clock Hughes, a Miss Huntley and Hughes’s eight year old 1767 John Conway Astley was born, the only child expressed, My wife, to conclude, in the evening (Sundays excepted) Mr. Astley, sister.26 Advertisements increased rapidly for Astley’s 19 of Philip and Patty and the future star of the fledgling performs the rest…“ the original English warrier from Gen. Eliott’s presentations and Patty’s , describing her dynasty. Later circus chroniclers such as Thomas Light Horse, and Mrs. Astley, will exhibit the most skills with two horses, riding with her five year old Frost or reminiscences such as Decastro mention And what a conclusion it was, with Patty standing wonderful and surprising performance, ... on one, son and concluding: Mrs Astley in passing, but details are lacking.16 The on her head and riding two horses: two, and three horses…24 earliest newspaper advertisements of the Astley’s Praise for Mrs Astley – what is more extraordinary exhibition of horsemanship are in the British Library, Mrs Astley the modern rider performs several feats, In the spring of 1772 Patty and her husband is the various equilibriums of Mrs Astley we hear many of them unattributed but some traceable to the amongst which are, leaping the bar with one foot were invited to perform for King Louis XV at his she was much admired when exhibited before Gazetteer and New Daily Advertiser.17 These accounts in each stirrup, riding two horses standing with one castle of Fontainebleau, an honour seized upon her Majesties last summer but now she is greatly present a clear chronology of Patty’s development as foot on each saddle…20 in advertisements for the 1772 season: improved in several feats of her horsemanship…27 a trick rider and an essential part of the story of early circus. The initial advertisements for Philip Astley’s Over the next four years Patty’s act continued to Likewise Mrs Astley will display the same feats of Patty appears in over fifty different references in ‘Activities on Horseback’, can be found in early develop and be an essential part of the show as Activity as she did before their majesties in Richmond the London papers in 1772. An illustration from April. By the end of May, the were the Astley’s moved to Westminster Bridge in 1769. Gardens, and likewise before the whole Court of the handbill dated Tuesday 14 September includes being publicised as Mr and Mrs Astley, with detailed Their son John joined the act, first riding alongside France at the Grand Camp on Fontainebleau, being a female rider standing sideways on the saddle in descriptions of Patty’s act from 30 May 1768: his mother from the age of five. On 3 June 1769, the only one of her sex that ever had that honour.25 a long dress and mentions Mrs Astley within the Philip presented what would become one of his most text.28 This image of a female equestrienne on two Mr and Mrs Astley ride two horses both together at famous routines, the Tailor of Brentford, a routine horses also appears in a pamphlet from 1873 and is one time, and yet they only have two to ride on – soon copied by his rival Charles Hughes.21 As the referred to in the text ‘as a young lady or Mrs Astley she leaps the bar between two horses at full speed new Amphitheatre was created, the show added rides two standing on two horses on full speed with she rides two horses with one foot in each saddle apprentice rider Mr Griffiths and later his wife, great Elegance. This Feat of Activity is each Evening and fires a pistol – she leaps the bar on a single acrobat Signor Colpi and Mr Merriman the .22 varied, for which Reason the Particulars cannot be horse and she exhibits on full speed the different On 9 July 1770, Patty was awarded her first benefit specified’. The numbering on both the handbill and the guards made use of by Elliots Prussians and Hellian performance, a theatrical practice where the takings later pamphlet do not match the image description but Hussars… also the manner in which Elliots charged of the evening are given solely to the named artist.23 do seem to illustrate a female rider namely Patty and a the French troops in Germany in the year 1761.18 such is, the only known image of Mrs Astley.29

What is Circus Today? - Explorations through 250 Years of British Circus Professor Vanessa Toulmin 6 7 Professor Vanessa Toulmin Chapter 2: The First Lady of Circus The first appearance of Wildman’s Bees is advertised Despite the trials and tribulations of the later years, on a handbill from 28 July.30 A later advertisement the loss and rebuild of Astley’s Amphitheatre and from 3 August confirms the appearance of Mr a bitter rivalry with Charles Hughes, Philip and Wildman ‘between the acts of horsemanship’ riding his wife prospered. with ‘a curios swarm of bees on his naked arms then on his head in the imitation of a bob wig’. 31 The earliest surviving eight page pamphlet ‘A Short By 17 August, Wildman’s act had been adapted to description of the Various Feats of Activity at Astley’s incorporate Patty, now presented as ‘Mrs Astley and British Riding School, Westminster’, contains both his Mr Wildman’s Exhibition of Bees’: record in the management of the horse and a fully detailed illustrative description of his latest ‘activities’ Mrs Astley and Mr Wildman between the several as exhibited.36 Much of this can be found within ‘The acts of horsemanship will ride with a swarm of bees Modern Riding Master’ published two years later in the following manner. Mrs Astley with a swarm of (afterwards expanded and republished as ‘Astley’s bees on her arm, imitating a lady’s muff, then Mr System of Equestrian Education’ in 1801, dedicated Wildman will move them on his head and face in a to the Duke of York). In 1782 he appeared in both most extraordinary manner. Brussels and Belgrade, and on 5 July, in Paris. He returned to Paris the following year to set up the The advertisement goes on to describe how... ‘Amphitheâtre Astley’on 16 October. The London Amphitheatre was rebuilt on three occasions with Mr and Mrs Astley with their son five year old the final lavish one in Astley’s lifetime a mainstay Female circus riders from hand painted lantern slides, 37 and their three pupils will exhibit the whole of that of the capitol’s entertainment culture. As for Patty, c.1870s, Dick Moore Collection amazing activity on one two three and four horses, in August 1803 the London Gazette published an so as not to be equalled by anyone in the world.32 announcement of her death.

Patty continued to develop her bee routine with ‘On Thursday last, after a long and severe illness, Daniel Wildman expanding it to include three hives Mrs P Astley, Mother to John Astley, Esq. of Royal of bees and incorporating additional tricks into the Amphitheatre, Westminster Bridge, died aged performance. A description from Patty’s Benefit 61 years’. 38 performance in Dublin in 1774 reveals the additions: Her husband Philip followed her eleven years later; See, Mrs. ASTLEY, well known for her great diagnosed with gout in the stomach , he died in Command over the Bees, will (this Day and To- 1814 aged 72 and was buried in Pére Lachaise morrow) exhibit with three Swarms of Bees, which cemetery. He had spent forty-six years developing his will truly surprise the Spectators (she will command art of equestrian entertainment and, 250 years on, it them her Arm, imitating Lady’s Muff will order them is still recognisable today. However, he did this with to march across a Table, which they will absolutely a the support and participation of his wife, who for at manner beyond Conception.33 least the first eight years was an equal partner and one of the shows early stars. Later chroniclers may Although Daniel Wildman is not listed in the show, have lessened her impact, but to her contemporaries he is still associated with the Astleys and produced she was described as such in the following way: a thirty-eight page pamphlet on the ‘Management of Bees’ printed by Philip Astley for the Dublin “She with uncommon Art and Matchless Skill, performances. The bibliographic detail reveals  Commands these Insects to obey her Will, it was ‘also sold by Mrs Astley, well known for her With bees all others cruel means apply, great command over the bees’.34 She takes the honey but them death As the Company toured the regions in 1775 and not destroy…” 39 1776 Patty continued to ride and ‘command her bees’. Appearing in in January and October 1776, her return to London for the summer season saw Patty receiving another benefit show on 31 August.35 However, the programme of entertainment in Astley’s Amphitheatre was incorporating more floor acts, additional female riders, and the Young Astley as the star performer. Circus, although not yet presented under that name, was recognisably a genre in its own right. Patty’s presence in the newspaper adverts becomes reduced or non-existent and the memory of her early performances and the role she played with her husband vanishes from the public conscious and from the historical narratives. Illustrated handbill for Philip Astley, Tuesday 28 July 1772, London. British Library Collections accessed via Eighteenth Century Collections Online.

What is Circus Today? - Explorations through 250 Years of British Circus Professor Vanessa Toulmin 8 9 Professor Vanessa Toulmin Chapter 2: The First Lady of Circus Miss La La Olga Kaira at the Cirque Fernando 1880. Collection Zimmerli Art Museum Women at Rutgers University. in Circus

Many thousands of women have entered the circus ring since Patty Astley first performed in 1768. One of the earliest female troupes were nine rope dancers who in 1786 were advertised as ‘the Royal and only Troupe of Female Rope Dancers will perform their surprising exercises ‘The Venetian Exercises of Strength”.40 Circus acts developed in the nineteenth century and the standard programme included aerial performances such as tight rope and trapeze, equestrian and trick riding, along with ground acts such as acrobats incorporating such novelties as the act and breakaway ladder, , and the staple of circus performance, the clown. Without exception these acts were also performed by women and by the late nineteenth century women aerial artists were among the highest paid of all circus performers.41

Circus was an arena where women could perform and recent scholarship has placed much attention without fear and at a time when Victorian women on the significance of aerial performance in body were not allowed to play professional sport, the ring identity and cultural norms. Interestingly, the first was an arena for daring trick riders such as Pauline triple somersault was performed by a woman, fifteen Newsome and astonishing rope walkers and aerial year old Lena Jordan appearing with the Flying wonders.42 It was not until 12 November 1859 at the Jordans in a theatre in May 1897, but it was Cirque Napoleon in Paris that Jules Leotard, a young only recently that her place in circus history has French acrobat first performed a been recognised.44 The triple somersault remains twelve minute routine involving a mid-air somersault and leapt from one trapeze to another.43 His other great legacy is the costume still named after him, the leotard, an all-in-one knitted suit which was both aerodynamic and allowed greater freedom of movement.

Leotard’s innovations transformed the circus with women aerialists in particular becoming highly sought. The aerialist troupes or the single strong woman speciality act were the most glamorous of all artists featured on the beautifully lithograph posters. None more so than Rossa Matilda Richter who, aged fourteen, was launched from a cannon at the Royal Aquarium in London in 1877 and became known throughout the world as Zazel the . Performers such Female artists Lord George Sanger’s Circus as Zazel, Pansy Chinery - the Human masquerading as wild west performers, Arrow and Miss La La, executed c. 1887 NFCA University of Sheffield Library. their aerial skills with fearless grace

What is Circus Today? - Explorations through 250 Years of British Circus Professor Vanessa Toulmin 10 Poster for Shelby, Pullman & Hamilton’s 8 Shows: Zazel Cannon Feat, Strobridge Lithograph Co. 1881. The John & Mable Ringling Museum of Art Tibbals Circus Collection Florida.

Postcard of circus act from early 1900s. NFCA University of Sheffield Library

the water mark of an exceptional act but it is her Their narratives demonstrate the range and diversity male counterparts who are more widely known of women’s performances across the centuries. and celebrated.45 This fascination for the body in Navigating between the sauciness of Adah Menkeh, flight continued throughout the twentieth century. who shocked London in 1865 with her bare Lillian Leitzel was the highest paid performer on the limbs when appearing as Mazeppa, through to Ringling Bros Circus in the 1920s and her death in the gracefulness and respectability of later artists Blaze Tarsha in No Fit State’s Bianco, Turning Berlin was met with widespread sorrow from press catering for the more refined middlebrow, these Savage, 2016. Photograph: Richard Davenport and public alike. Aerial performance is still the stories and the impact they had are hidden from mainstay of both vintage and contemporary circus, conventional narratives and the range of roles with many different routines such as the Cloud occupied in the circus arena is often overlooked. Swing, Aerial Perch, , Silks and Straps From the bravery of the Queens, the among the numerous ways that artists challenge for mesmerising talent of fakir and animal mesmerist, supremacy of the air. One of the most spectacular Koringa, and the comedic dexterity of lady clown contemporary aerial ballets is the beautiful Place Lulu Adams, all aspects of circus performance were des Anges, originally created by Stephane Gerard presented by women and their stories are only now and the legendary Pierre Bidot, performed as part being told, critiqued or fully researched in the context of the London 2012 Cultural Olympiad and Hull of both circus and feminist history. City of Culture 2016. Circus performers were drawn from many traditions, The circus provided an opportunity and a refuge nationalities and ethnicities, with pleasure gardens from normal conventions where limbs could be and travelling fairs providing the artists at the start shown and bodies could be athletic. Women flew of the nineteenth century. But what place did circus through the air, straddled their steeds, tamed wild in the United Kingdom hold for people of colour and beasts and achieved feats of astonishing bravery black performers? Was it, in the words of Thomas and skill.46 These sisters of the sawdust challenged Horne writing in 1905, a place where there was ‘no conventions and pushed boundaries, with one colour line’ and with the only ‘test being ability’?47 troupe described by the Coventry newspapers in the 1850s, as being: Lulu and Albertino illustrative postcard c. 1935-6. NFCA University of Sheffield Library. ‘as graceful as they were disgraceful!’ Lion Queen from Hugues Le Roux, Le juex du cirque et le vie foraine, Paris, 1889. NFCA University of Sheffield Library.

What is Circus Today? - Explorations through 250 Years of British Circus Professor Vanessa Toulmin 12 13 Professor Vanessa Toulmin Chapter 3: Women in Circus Unknown black performer with Lord George Sanger’s Black Circus Circus in the 1880s. NFCA, University of Performers in Sheffield Library

Bell’s Circus Town Moor, June 15 1835 featuring the 19th Century Mr Arlo Pablo Paddington. Fenwick Collection Tyne and Wear Archives.

The story of black circus performers being accepted within the camaraderie of the ring is one that is difficult to trace and identify within a profession where names were often non de plumes and biographies an exaggerated or often fantastical version of reality. Additionally, scholarship on the circus is dominated by the North American manifestation and its associated midway that combined both European traditions, the circus and the into one amalgamated attraction complete with racial stereotyping and freak-show narratives.48 European and British circus history also has a problematic past with colonial narratives framing later performers of Black artists within ethnographic exhibitions.49

Scholarship is unearthing stories which demonstrate and incredible feats on the Corde Volante or Flying circus as a diverse arena where people of colour Rope!54 Their lives and others such as Eph Thompson, presented their skills. Within the archival record, the American elephant trainer who triumphed in small but vital scraps of information are still being Paris, London and Blackpool, demonstrate how circus retrieved with photographs, first-hand accounts presented an opportunity and escape from prevailing and posters providing clues to a larger body of attitudes of gender and racism. knowledge waiting to be discovered. It is also important to understand the period in which The most common activity associated with black black artists were performing and to separate later performers was animal acts, especially lion taming accounts from contemporary records where, in the Illustration taken from the Illustrated and descriptive and many names can be found in the historical case of some of the earlier performers, the colour catalogue of Manders’ Grand National Star Menagerie, with record.50 Maccomo (1836-1871) of Mander’s of their skin is barely mentioned. The period between life and adventures of Martini Maccomo, the African lion king Menagerie fame and Sargona Alicamousa are two 1840 and 1870 should be looked at in the context by E. Stevenson. Liverpool, H. Greenwood, printer, Steam of the most famous.51 A new story is that of Madame of the abolition of slavery within the British Empire Printing House, 1870. Cabinet Card of Sargona Alicamousa c.1890. The John & Salva, who appeared with Wombwell’s menagerie and the period from the late 1870s when colonial Mable Ringling Museum of Art for over eight years appearing prominently on a discourse, racial superiority and the concept of Tibbals Circus Collection Florida. poster from 1887 held by the Circus World Museum Englishness was recast.55 As Jeffrey Green has in Baraboo. It reveals the existence of women of noted for the Edwardian period: colour performing in other arenas within the circus.52 Hundreds of black people worked in Edwardian Other occupations include Herr Christopher, a Britain’s entertainment industry. native of Swansea, described as one of the finest rope dancers in the world in the 1850s, who The presence of black Victorian circus performers appeared at Astley’s and Carlos Trower, the African is equally apparent.56 Their activities are not Blondin whose engagements included Raikes Hall, restricted to but cover the spread Blackpool and many others in the 1870s.53 The of acts performing at the time – aerial, equestrian field of equestrianism includes Joseph Hillier, who and animal training, and although described as after working solely for Andrew Ducrow from the ‘black or coloured’ have a range of countries and 1820s unsuccessfully attempted to continue the ethnicities far more complex. Nationalities of the companyafter Ducrow’s death, but must be credited performers range from a North American elephant as the first black circus proprietor in the United trainer who achieved fame in the United Kingdom Kingdom. Also the remarkable Pablo Paddington, and Europe but not in his country of birth, and both a native of whose skills included horsemanship, male and female performers who were of African dancing with skipping ropes, leaping handkerchiefs, extraction but born in Europe, Ireland or Britain.

What is Circus Today? - Explorations through 250 Years of British Circus Professor Vanessa Toulmin 14 15 Professor Vanessa Toulmin Chapter 4: Black Circus Performers in the 19th Century Marie Christine Borchardt. She joined the circus at the age of nine. Some authors believe that her entry at that age demonstrates that her parents were also Miss La La – performers, but this has not been proven. What is known is that from an early age she was proficient on the high wire, the trapeze and the flying cord and was one of many strong women and iron jaw Olga Albertina Brown performers prominent in the 1870s.60 Her signature feat included hanging from a trapeze upside down with a cannon weighing 150 pounds hanging from her teeth which was then fired. Although other performers copied or presented variations of this sensational feat none achieved the fame of Olga.61 She performed at the Westminster Aquarium in London from February to March 1879 and at The marvellous artist that was Miss La La was captured in images by Edmond Desbonnett, the Cirque Fernando where Degas executed his the father of physical culture in France, whose 1911 publication contains the only contemporary famous painting, and where it was reported that biographical details and photographs.57 He marvels at the size of her biceps (38.5 cm), her La La eclipsed all previous acts. She also appeared at the Follies Bergere (a poster was done of her ability to do a two handed press with a man weighing seventy kilos hanging from her jaws performance in 1880 by Cheret) and the Hippodrome and her incredible canon act. But it is Degas who immortalised her, capturing her strength, Au Pont De L’Alma in 1880 as part of the Kaira troupe 62 poise and sheer athleticism. Miss La La at the Cirque Fernando (1879) by Edgar Degas is for which Emile Levy designed the poster. arguably one of the most famous paintings of the genre. Acquired by the National Gallery Her other names included: Olga, Olga the Mulatto, in 1925 the work portrays the astonishing performance of aerialist, acrobat and circus artist Olga the Negress, Venus of the Tropics, The Cannon Miss La La suspended at a great height from a rope clenched between her teeth up in the Woman, The African Princess, The Black Venus and, with her partner Theophilia Szterker, as part upper echelons of the famous Parisian circus building. of the Kaira Troupe. In the early 1880s, again with Theophilia, she formed an acrobatic duo named But who was Miss La La and how does her story and the Black and White Butterflies - Olga and Kaira. this painting in many ways contradict the stereotypes A series of posters for Olga and Kaira show their and clichés of how circus is both represented and international reach covering France and Spain, with perceived today and historically? the contrast in their ethnicities clearly presented.63 Their British debut in October 1883 at the Royal Degas captured the star of the Parisian circus in Aquarium drew much press attention and the nature over twenty sketches, drawings and pastels, brought of the advertisements emphasises the contrast in together by the Morgan Library & Museum in New racial language: York in 2013 in the exhibition Degas, Miss La La, and Poster for Black and White Butterflies 58 the Cirque Fernando. For perhaps the first time, Olga and Kaira – a pretty Circassian and an Olga and Kaira. Madrid c. 1880s the true story of the performer within the painting equally fascinating African acrobat beauty are also was revealed, albeit beautifully framed in the context announced as having been persuaded to appear of art rather than performance history. By painting in public.64 an astonishing female performer of colour, Degas or a beautiful African and the posters that survive was presenting a visual reality of the circus of his There is no mention of the famous cannon act that reflect this change in representation.67 Appearances day where women were the stars of the show. This is made Miss La La an international star and their roles at Circo De Price in Madrid, Cirque Rancy in Paris, one that has been forgotten and largely overlooked seem to be equally billed and publicised: Circus Wolf in Germany followed until Kaira’s tragic death from a fall on 21 June 1888.68 In October until a new generation of female scholars such as Miss La La at the Peta Tait, Helen Stoddard and Janet Davis have Cirque Fernando, Olga and Kaira the grandest female artists in the 1888 she met and married Emmanuel Woodman, reaffirmed the importance of gender and race Hilaire-Germaine world – see Kaira’s headlong plunge and Olga’s an African-American contortionist, in Heligoland and in the development of nineteenth century circus. Edgar Degas, long swing in mid air.65 gave birth to their daughter Rose Eddie Woodson on Olga’s race and skill are clearly outlined by Degas 1879. National 3 March 1894 in London. Olga became part of a Portrait Gallery. and provide a vital clue to the existence of black After a two month engagement at the Royal new troupe, Three Keziahs, and appeared with her performers in nineteenth century circus. Aquarium they appeared at the Canterbury Theatre husband on the variety circuit worldwide, including of Varieties, Westminster Bridge for the Christmas Australia, New Zealand. They settled in Belgium A black female body in exceptional action at season from 24 December onwards.66 They travelled where Manuel managed the Palais d’Ete circus in height momentarily outmanoeuvred its low social internationally appearing in Paris in August 1884 Brussels until his death in 1915. The final resting positioning. At least during aerial performance La at the Cirque d’Ete where they were described as place of the extraordinary artist Olga Woodson nee La’s black womanhood could be esteemed’.59 ‘exceeding in daring anything accomplished by Brown is not known, other than an application for 69 the renowned Leotard’. The sexualised multiple US passport in 1919. What we do know is that the Miss La La, a woman of mixed race born to a black identities that personified the publicity of Miss La artistry portrayed so magnificently by Degas was father and white mother is one of many hidden what it represented then and still represents today. Miss La La was La are no longer apparent in the publicity or press only one aspect of her life and career. histories that can be found within the circus arena the stage name of Olga Albertina Brown, born in Stettin, Prussia notices, Olga is referred to as a woman of colour and challenges our view of how circus developed, (modern day Poland) on 21 April 1858 to Wilhelm Brown and

What is Circus Today? - Explorations through 250 Years of British Circus Professor Vanessa Toulmin 16 17 Professor Vanessa Toulmin Chapter 5: Miss La La - Olga Albertina Brown of newspaper reports covering his circus. His early life and career was marred by tragedy with the death of his first wife Suzannah in in 1848 Pablo when the galleries in his own circus collapsed on 19 March. His second marriage to Elizabeth, daughter of George and Martha Corker, licensees of the ‘Bull and Yoke’ in Sheffield, occurred when Fanque Pablo’s company was at the Alexander Theatre, next door to hostelry. The marriage resulted in two additional children to add to his son Lionel. Some of the greatest names in circus appeared with Pablo Fanque and at his height his circuses, sometimes juggling double or multiple companies in the same year, in both tenting and wooden venues, were among the finest in the land. Pablo Fanque, ‘late of Pablo Fanque’s Fair’ is the only circus owner to be immortalised in a Beatles lyric. Being for the Benefit for Mr Kite was inspired by Appearing in Sheffield on a number of occasions a poster purchased by relating to a circus in presented from 1847 as well as the North East and his home town of Norwich, the 1840s and 1850s were a by Pablo Fanque in the 1850s. The true life and adventures of Pablo Fanque period of great success for him, operating two showman, circus proprietor and equestrian was brought to wider public attention parallel shows in Sheffield, Liverpool or Manchester. by circus historian Dr John Turner, whose articles and research on Pablo form the After successful seasons in the North of , Pablo travelled back to the city of his birth with his 70 basis for all later scholarship. Royal Circus and enjoyed successful tenting runs from 29 December 1848 to March 1849.71 Posters from Norwich reveal a diverse bill of entertainment including an Athenian equestrian pageant of male and female equestrians on 18 Palfries.72 By the 1860s, a decline in prosperity resulted in periods Born William Darby in Norwich in of bankruptcy and selling of his equipment and 1810 to John Stamp of African origin circus. In April 1863, he took a short engagement and Mary Stamp, he was apprenticed as manager of the Tyne Concert Hall in Newcastle, to William Batty at an early age. He which had been converted into a circus. Despite the first trained as an acrobat and aged serious nature of his finances he was still hailed as thirteen was described as the Flying the ‘renowned Pablo Fanque’ by the local press Mercury. Later, his act would culminate and toured parts of the North East with his with a leap over a Post Chaise! Two ‘Alhambra Circus’.73 of the earliest posters from his time at Batty’s Circus survive, the earlier from The following years saw his circumstances sink Cork in 1836 and the later Saturday dramatically. His death in poverty at the Britannia 8 September 1838 in the Tyne and Inn, in May 1871 was greeted with Wear Archives. However, it was in his widespread sorrow and his funeral in Leeds, where later career as an equestrian that he he was interred in the grave of his first wife, was achieved lifelong fame. Operating in a spectacular occasion. The story of Pablo at first the period following the abolition of appears to reveal a time of greater tolerance where slavery and before colonial discourse ability was the key to his success and his race presented a narrow definition of never commented on. Interestingly it is only in later Englishness, his acceptance in both anecdotal accounts by contemporaries published circus and mainstream Victorian after his death where such problematic descriptions society appears exceptional. occur. Whilst praising Fanque, Frost the chronicler of Circus Life and Circus Celebrities, refers to him as From 1841 onwards Pablo progressed ‘dusky’ and his closest friend and colleague Wallett to become one of the most successful the Clown also references his ethnicity in what we circus proprietors of the age, a would now perceive in a derogatory manner.74 celebrated and gifted equestrian Illustrated London News 13 March 1847, Mr Pablo Fanque at Astley’s However, although the language is problematic the Amphitheatre, London. NFCA University of Sheffield Library. who operated circuses in a loose sentiment regarding his ability was universal. This association with W. F Wallett, the well-loved purveyor of public entertainment was in famous Victorian clown, throughout the North of ‘as an artist of colour and his act the ‘hit of the the words of the Rev Thomas Horne writing in 1905: England, Ireland, Scotland and the Midlands. At the evening, never seen surpassed or even equalled’. height of his fame in Astley’s Amphitheatre in 1847 A genius, both in the training of humans and dumb he is described: This reference to his race is one of the very rare beasts, many were the splendid equestrians he occurrences in contemporary accounts and his trained and great was his power with horses and Pablo Fanque’s Circus Royal Victoria Gardens, ethnicity is seldom mentioned in the many hundreds other animals. Norwich December 28, 29 and 30 1848. Heritage Centre

What is Circus Today? - Explorations through 250 Years of British Circus Professor Vanessa Toulmin 18 19 Professor Vanessa Toulmin Chapter 6: Pablo Fanque Final thoughts

The three performers I have highlighted demonstrate how the circus provided an area where exceptional skill could prevail and flourish despite the prevailing attitudes of the time. From Patty Astley, the first woman to perform feats of horsemanship in a circus ring, to the skill and artistry of black performers such as Miss La La and Pablo Fanque, their stories are remarkable.

This is not to say that the history of circus is not affected by colonial representations of people of colour and American circus history in particular has a very different legacy and story. Circus is shaped and influenced by the socio-cultural context that it was and is part of and very few women made the leap from artist to producer or owner over the past three centuries. It is only with the development of contemporary companies since the 1970s that women producers are becoming more visible.

Circus from its inception has operated both within the mainstream of the society it interacted with, but also provided an arena for those marginalised by conventional attitudes to shine and flourish. Over the past 250 years, innovation, reinvention, reform and rebirth have been the key themes of circus and, as a performance genre, it has evolved and developed with a trajectory that is both linear and, befitting its origin, cyclical. Aspects of its history will need to be constantly researched contextualised and re-examined and the archival record will continue to bring new stories that helps us understand all aspects of its 250 year history in all its diversity and complexity.

Vilhelmina Sinervo, LEXICON, No Fit State Circus. Farewell Benefit for Mr Pablo Fanque Photograph: Richard Davenport. Saturday 22 July 1854, Sheffield. Sheffield Local Studies and Archives.

What is Circus Today? - Explorations through 250 Years of British Circus Professor Vanessa Toulmin 20 21 Professor Vanessa Toulmin Chapter 7: Final thoughts 11 Originally Crying out Loud http:// 28 Handbill for Horsemanship and 35 Morning Chronicle and London 56 James Walvin, Black and White: cryingoutloud.org/about/circus- Activity by Mr and Mrs Astley, Riding Advertiser (London, England), The Negro and English Society timeline/ accessed 1 September 2018 School Westminster, 14 September Wednesday, August 28, 1776; 1555-1945. allied itself to a history unconnected 1772, British Library Collections, Issue 2269. 17th-18th Century to traditional or historical circus forms accessed via Eighteenth Century Burney Collection Newspapers. 57 Jeffrey Green, p 80. Works cited going back to 1968, but recently Collections Online. Then again August 31st 1776 celebrated through Circus Samplers For the Benefit of Mrs Astley. 58 Desbonnett Les Rois cited in – a programme of events celebrating 29 Philip Astley, ‘A Short Description Wolk-Simon et al Miss La La ‘250 years Philip and Patty Astley of the various Feats of Activity 36 Philip Astley, A Short Description at the Cirque Fernando. first pioneered Circus in London’ exhibited at Astley’s British Riding of the various Feats of Activity https://www.somersethouse.org.uk/ School’, London 1773, Tyne & Wear exhibited at Astley’s British Riding 59 Wolk-Simon et al, Miss La La & footnotes whats-on/circus-sampler accessed Archives, Arthur Fenwick Collection, School , London 1773, Tyne & Wear at the Cirque Fernando. September 3 2018. Accession 944/150. Archives, Arthur Fenwick Collection, Accession 944/150. 60 Tait, p. 45. 12 Kwint, loc. cited, p.211. 30 Illustrated handbill for Philip Astley, Tuesday 28 July 1772, London, 37 Richard D. Altick Shows of London. 61 Tait, pp 41-45. 13 Dominique Jando, Philip Astley British Library Collections The Horseman who invented the accessed via Eighteenth 38 London Chronicle, 3 August, 1893. 62 Linda Simon, (2015). Circus and Steve Ward, Father Century Collections Online. I am indebted to Andrew Van Buren of the Modern Circus, Billy Buttons, for supplying these details. 63 Jacobs, p. 102. The Life & Times of Philip Astley. 21 Gazetteer and New Daily Advertiser (London, England), Saturday, 39 The Norfolk Chronicle, 64 See Biblioteca Nationale de 1  Altick, Richard D, (1978), The Shows of London, Cambridge MA: The Belknap Press. Of the many 1000s of books 14 For ongoing discussions about the June 3, 1769. 26 October, 1776, p. 2. Espana, Circo Price Poster published on circus the date of Astley, Philip, 1773. A Short Description of the various Feats of Activity exhibited at Astley’s British identity of Mrs Astley see Dominique of Olga and Kaira, c. 1880s. 1768 is universally accepted with Jando, p. 209 where he argues that 22 See Jando, p.34. 40 The Thomas Horne, 1905 citation is Riding-School, London, 1773.Tyne & Wear Archives, Arthur Fenwick Collection, Accession 944/150. discussions relating to the month, it is not conclusive that the argument found in many articles on Pablo for 65 The Sportsman Saturday Davies, Janet, (2002), The Circus Age: Culture and Society Under the American Big Top. or date of its actual birth. Marius for Charlotte Taylor being 23 Gazetteer and New Daily Advertiser details see John Turner, Pablo Circus 13 October 1883. Chapel Hill: University of North Caroline Press. Kwint’s work on early Georgian Mrs Astley as opposed to Patty (London, England), Monday, July 9, Black Circus Proprietor, p.38. Circus discusses in detail the 65 Davies, Gareth H, (2017), Pablo Fanque and the Victorian Circus, A Romance of Real Life, Jones is quite plausible. 1770; Issue 12 903. Sporting Life, 14 November 1883. competitors to Astley and similar 41 Young Astley, Royal Grove, Norwich: Poppyland Press. types of performances at the time 15 I am indebted to Andrew Van Buren 24 Handbill for Philip Astley, London Westminster-Bridge. This evening, 66 Hendon and Finchley Times Decastro, J, (1824), The Memoirs of Jacob Decastro Comedian, London: Sherwood Jones & Co. which evolved into what we now of the Philip Astley Project July 28th 1771, British Library young Astley will display his 29 December 1883, Essex Herald, Desbonnet, (1911), Les Rois de la force, Paris: Libraire Athletique. consider to be circus. http://www.philipastley.org.uk/ Collections, accessed via Eighteenth astonishing equestrian exercises, 31 December 1883. for information pertaining to Century Collections Online. in three parts, on several horses, Disher, M. Willson, (1937), The Greatest Show on Earth, London: D Bell and Sons. 2  See Circus 250 a year-long Patty Astley. among which are his still vaulting. 67 The Stage, 8 August 1884. Frost, Thomas, (1881), Circus Life and Circus Celebrities, London: Chatto and Windus. celebration of the anniversary 25 Public Advertiser (London, England), London: H. Pace, printer, No 56, Green Jeffrey, (1998), Black Edwardians – Black People in Britain 1901-1914, of Circus led by Dr Dea Birkett 16 Thomas Frost, p. 19 and Charles Wednesday, April 22, 1772; Issue Borough High Street, 1786. 68 John Turner’s Dictionary of British Abingdon: Frank Cass, Abingdon. www.circus250.org Dibdin the Younger, p. 20. 11692. 17th-18th Century Burney Circus Biography Database held Collection Newspapers. See also 42 Tait p. 2. in the National Fairground and Hughes, Sakina M, 2017, ‘Walking the tightrope between racial stereotypes and respectability: 3  Dominique Jando Philip Astley 17 Astley’s Cuttings from Newspapers Gazetteer and New Daily Advertiser Circus Archive, University of images of African American and Native American artists in the golden age of the circus, the Horseman who invented the 1768 – 1856, held by the British (London, England), Friday, April 24, 43 John Turner, Victorian Arena, for Sheffield Library. Early Popular Visual Culture, Vol. 15, No. 3, 315–333. Circus, p. 33. Library contain important 1772 description of Patty’s act in biographies of the many women Jacobs, Pascal, (2018), The Circus A Visual History, London: Bloomsbury Visual Arts. descriptions and details of the front of their majesties. performers active at this time. 69 Details of Olga and Manuel 4 Individual national histories mark Jando, Dominique, (2018), Philip Astley, the Horseman who Invented the Circus, New York: Circopedia. early shows but some are missing marriage can be found at https:// the date of the introduction of both key dates and titles of 26 Gazetteer and New Daily Advertiser 44 Jacobs, p. 94 & 102. thecircusgirlblog.wordpress.com/ Kwint, Marius ‘Circus’ in David Wiles (ed), Cambridge Companion to Theatre History circus to their respective countries, original newspaper. (London, England), Monday, May tag/olga-kaira/ accessed 17 August (Cambridge: Cambridge University Press, pp 210 – 226. see Pascal Jacob, Circus for the 18, 1772; for details of Mrs Hughes 45 Tait, p. 57-8. 2018 but certain facts appear Lindfords, Benthe, (2014), Early African Entertainments Abroad – From the Hottentot Venues development in France, Dominque 18 Gazetteer and New Daily Advertiser display of trick riding where she also misleading for example the three Jandon’s www.circopedia.org for 46  to Africa’s First Olympians, Madison: University of Wisconsin Press. (London, England), Monday, May shoots a pistol and performs a very Peta Tait Janet Davies are just two children and their association a detailed historiography of circus 30, 1768; Issue 12244. 17th- similar routine to that of Patty. of the feminist circus historians as the Keziahs when it is clear Nelson, Hilda, (2015), Great Horsewoman of the 19th Century in the Circus, Xenephon Press. see Tools Stott they all trace back to 18th Century Burney Collection who are challenging perceptions from newspaper reports that this Stoddard, Helen, (2000), Rings of Desire: Circus History and Representation, Philip Astley and 1768. Newspapers. See Tuesday 27 London Evening Post (London, in relation to its history. company was exhibiting in the Manchester: Manchester University Press. May 31 for same description. England), April 30, 1772 - 1890s with Olga part of the troupe. 5  Peta Tait, p.6. 47  Tait, Peta, (2005), Circus Bodies: Cultural Identity in aerial performance, Abingdon: Routledge. May 2, 1772. See Hilda Nelson, and Sakina For details of the genealogical 19 Gazetteer and New Daily Advertiser Hughes work on images of African records of Olga and Manual see Turner, John, (1995-200), Victorian Arena: The Performers. A Dictionary of British Circus Biography, 6  See Helen Stoddard Rings of Desire, (London, England), Saturday, 28 Handbill for Horsemanship and American artists in the circus. www.geneaologyfreelancers.com volumes I and II, Formby: Lingdales Press. on Circus as ‘an exceptional human June 11, 1768; Issue 12254.17th- Activity by Mr and Mrs Astley, Riding file posted on Olga Kaira accessed Turner, John, (2003), ‘Pablo Fanque, Black Circus Proprietor’, in Gretchen Holbrook Gerzina (ed), physical achievement’ p 4. And 18th Century Burney Collection School Westminster, 14 September 48 The Thomas Horne, 1905 citation is 18 August 2018. Marius Kwint ‘The modern circus Black Victorians, London: Rutgers University Press, pp. 20-38. Newspapers. See also Willson 1772, British Library Collections, found in many articles on Pablo for is, in essence, the theatre of various Disher, Greatest Show on Earth, accessed via Eighteenth Century details see John Turner, Pablo Circus 70 John Turner, Pablo Fanque, Van Hare, G, (1893), Fifty Years of a Showman’s Life or The Life and Travels of Van Hare by himself, physical feats and marvels, usually (1937) for same verse. Collections Online. Black Circus Proprietor, p.38. pp 20-38. Sampson Low: Marston and Company Limited. taking place in a ring approximately Wallett, W.F (1870), The Public Life of W. F Wallett, London: Bemrose 13 metres (42 feet) in diameter 20 Gazetteer and New Daily Advertiser 29 Philip Astley, ‘A Short Description 49 Sakina Hughes. 71 See Gareth H Davies, Pablo Fanque in Marius Kwint, ‘Circus’ in David Walvin, James, (1973), Black and White: The Negro and English Society 1555-1945, (London, England), Saturday, of the various Feats of Activity and the Victorian Circus for details Wiles (ed), Cambridge Companion August 13, 1768; Issue 12 308. exhibited at Astley’s British Riding 50 Bernth Lindfors, for a discussion of his upbringing in Norwich London: Allen Lane The Penguin Press. to Theatre History (Cambridge: 17th-18th Century Burney School’, London 1773, Tyne & Wear of black performers within the freak and subsequent shows and Ward, Steve, (2018), Father of the Modern Circus - Billy Buttons, The Life and Times of Philip Astley, Cambridge University Press, Collection Newspapers. Archives, Arthur Fenwick Collection, and side show exhibitions. appearances in the city. See also Barnsley, Pen and Sword, 2018. pp 210 – 226 (211). Accession 944/150. Pablo Fanque posters held by 24 Handbill for Philip Astley, London 51 See for example https://www. Norfolk History Centre. Wildman, Daniel (1774), A complete guide for the management of bees, throughout the year, containing. 7  See Circus 250 for range July 28th 1771, British Library 30 Illustrated handbill for Philip Astley, africansinyorkshireproject.com/ I A description of the queen bee. II The generation of bees. III. Off the drones. IV. Of the proper situation for a bee of events in 2018 Collections, accessed via Eighteenth Tuesday 28 July 1772, London, black-lion-tamers.html 72 Pablo Fanque’s Circus Royal Victoria hive. V. The proper method of swarming and hiving. VI. Of Separating the honey and the wax. VII. Of the enemies www.circus250.com Century Collections Online. British Library Collections Gardens Norwich, 28th, 29th and sicknesses incident to bees. VIII. Of feeding them in the winter season. IX. Explanation of the new invented accessed via Eighteenth 52 See Jeffrey Green’s website for and 30th, 1848. Norfolk Heritage 8  See M Willson Disher, The Greatest 25  hives, with proper directions in what manner they are to be made use of. Dublin, Printed for Mr Astley and also Public Advertiser (London, England), Century Collections Online. detailed articles and these and Centre. Show on Earth, which although an Wednesday, April 22, 1772; Issue many more black fairground and sold by Mrs Astley, well known for her great command over the bees. 38 pp. important book still presents this 11692. 17th-18th Century Burney 31 Morning Chronicle and London circus performers who were active 73 https://www.labonche. Wolk-Simon, Linda, with Nancy Ireson and Eveline Baseggio Omiccioli, (eds), (2013), Degas, Miss La La, patriarchal nationalistic overview. Collection Newspapers. See also Advertiser (London, England), in the entertainment industry at the net/2016/06/pablo-fanques-visits- and the Cirque Fernando. Exh. cat. New York: The Morgan Library & Museum. Gazetteer and New Daily Advertiser Monday, August 3, 1772; Issue time. www.jeffreygreen.co.uk to-the-north-east/ for 9  See Helen Stoddard, p. 1-2, for a (London, England), Friday, April 24, 997. 17th-18th Century Burney details accessed 11 August 2018. good overview of the foundation 1772 description of Patty’s act in Collection Newspapers. 53 Red printed letterpress poster, for myths of circus, and the uncritical front of their majesties. the real Bostock and Wombwell 74 See W.F Wallett, p. 118. approach taken by subsequent 32 Gazetteer and New Daily Advertiser Menagerie, 1887, advertising Miss chroniclers. This is standard 26 Gazetteer and New Daily Advertiser (London, England), Monday, August Salva the Beautiful Sable Lion entertainment hyperbole and like (London, England), Monday, May 17, 1772; Issue 13561 and see also Queen, Circus World Museum. Buffalo Bill Cody a century later, 18, 1772; for details of Mrs Hughes 19 August for same advertisement. Astley is actually shaping and display of trick riding where she also 54 For information pertaining to creating his own foundation myth shoots a pistol and performs a very 33 Saunders’s News-Letter. From Carlos Trower see https://www. as the actual show is being created similar routine to that of Patty. Friday May the 6th, to Monday africansinyorkshireproject.com/ and formed to add legitimacy and May the 9th, 1774 carlos-trower.html gravitas and romance to the birth 27 London Evening Post (London, of his show as opposed to that of England), April 30, 1772 - 34 Daniel Wildman A complete guide 55 Van Hare, Fifty Years a Showman his rivals. May 2, 1772. for the management of bees, p. 36 -37. throughout the year. National 10 Ibid, p. 210 Library of Ireland, 1774.

What is Circus Today? - Explorations through 250 Years of British Circus Professor Vanessa Toulmin 22 23 Professor Vanessa Toulmin Chapter 2: WorksThe First cited Lady & footnotesof Circus Thanks

This publication has been produced to sit alongside the three Circus! Show of Shows exhibitions at Weston Park Museum, Sheffield, Discovery Museum, Newcastle and Time and Tide Museum of Great Yarmouth. The exhibitions have been created in conjunction with Museums Sheffield, Norfolk Museums Service, Tyne & Wear Archives & Museums and The University of Sheffield Library National Fairground and Circus Archive and supported by National Lottery players through the Heritage Lottery Fund. I would like to thank my co-curators for producing such fantastic exhibitions; Sheffield – Teresa Whittaker, Newcastle – Alisdair Wilson, Rachel Gill and Adam Bell, Great Yarmouth – Philip Miles.

I would also like to thank Kim Streets, Kirstie Hamilton and Chris Harvey of Museums Sheffield and Dea Birkett from Circus 250, who all provided inspirational support. Also, Jennifer Lemmer Posey of the Ringling Museum and Arantza Barrutia Ezenarro of the National Fairground and Circus Archive for help in securing images, and content for the exhibitions.

This publication would be all the poorer without everyone’s input. Material is sourced from many collections and archives, but I would like to especially thank Steve Richley for securing the impossible in many situations, Michael Smith, Dick Moore, Invisible Circus, No Fit State, Martin Burton, Blaze Tarsha and Pete Evans from Sheffield Local Studies and Archives. This publication has been made possible by support from the Faculty of Arts and Humanities, University of Sheffield.