A HOME CIRCUS
A NEW FORM OF ENTERTAINMENT
A HOME CIRCUS has so far been beyond the wildest dreams of the amateur
showman. Yet when one considers the wide scope a circus presents to
performers of every type, it is curious that “amateur circuses” are not
almost as popular as “amateur theatricals.” At first sight such a show
seems impracticable, on account of the large floor area required for the
ring. This need occupy but little more space than a stage, however; and,
taking into consideration the fact that the audience almost completely
surrounds the performers, it will ultimately be found that a circus does
not necessitate so large a room as might be anticipated.
[Illustration: FIG. 1.--Showing barricade and ring entrance.]
Of premier importance, of course, is the ring itself. It need not be
more than fifteen feet in diameter; but if additional space can be
spared, so much the better.
Fig. 1 gives a plan of a ring. It principally consists of a circular
barricade about 30 inches high. In one portion there is a gap of four or
five feet, which acts as an entrance (A, Fig. 1). If the ring can be so
arranged that a door of the room in which the circus is being
constructed, coincides with this entrance, much trouble will be saved.
Should this be impossible, however, two or three screens can be arranged
to form a passage from the ring entrance to the nearest door.
The method of constructing the barricade is explained in Fig. 2. A
number of broomsticks are sawn into 30 inch lengths and fixed to heavy
wooden bases in order that they may stand firmly upon the floor. A hole
is then bored in the other extremity; this may be done by means of a
red-hot meat skewer.
The position selected for the ring must next be marked out in chalk, and
the wooden stands placed round it at intervals of about a yard. Then
thread a piece of stout cord through the holes in the extremities of the
uprights.
Having determined the exact circumference of the ring, purchase a
sufficient length of cheap red flannelette to go completely round it.
The cost of this material should be about 10 cents per yard, and its
width exactly equal to the height of the stands. A number of large hooks
must be obtained from the same shop, and sewn along one edge of the
flannelette. It remains only to hook the material to the cord, as shown
in Fig. 2, in order to complete the barricade.
[Illustration: FIG. 2.--Construction of barricade.]
The entrance must now be artistically draped with curtains, after the
style of A, Fig. 1. It will then serve the additional purpose of a
“stage,” upon which conjurers, jugglers, and other artists who do not
wish the audience to see the back of their apparatus can perform.
The vexed question of “lights”--always a difficult problem in amateur
theatricals--need not here be considered, the gas or electric fixtures
already installed being sufficient.
A circus is never complete without its horses, so attention must now be
paid to this department. It is hardly practicable to turn several
full-grown animals loose in a circus constructed in an ordinary room nor
is it probable that the reader’s purse will run to the importation of
one or two Shetland ponies. But a whole stud of “circus horses” may be
obtained at small expense by carrying out the following directions.
[Illustration: FIG. 3.--Showing outline of horse and part to be
stitched.]
Purchase three yards of cotton cloth, at 6 cents per yard. Fold the
material in the center, thus making a double piece 1¹⁄₂ yards long.
With a pencil or piece of chalk sketch the outlines of the head and
back of a horse upon it, as shown in Fig. 3. Then take a pair of
scissors and carefully cut out the stuff. The result will be two
horse-shaped pieces of calico of exactly similar proportions.
At this stage, if the young showman is wise, he will place the
operations in the hands of his mother or sister, for the two patterns
must be stitched together along the edges, to the points marked A and B,
Fig. 3. This done, the whole affair should be turned inside out.
Next obtain a quantity of rags or shavings, or purchase some excelsior
from an upholsterer’s, and stuff first the head and then the haunches of
the “horse.” The two unsewn pieces of cloth in the center remain empty.
One of them must be cut in half, and the two sections thus obtained
folded and stitched into the form of two small bolsters and stuffed with
flock (A, B, Fig. 4).
[Illustration: FIG. 4.--Opening in horse for rider; tapes at A and B to
be tied.]
The remaining side should be similarly treated, only in this case it
must not be cut in half, but remain intact. The result will be the head
and haunches of a horse, with two “sausage-shaped” flanks in the center
(Fig. 4).
OTHER DECORATIONS
The “noble thorough-bred” is now ready for its final decorations.
Unravel some coarse rope and sew it along the neck of the horse to
represent the mane. Another piece, unraveled at one end only, does duty
for a tail. The ears are constructed by cutting a piece of calico,
folded in the form of a sugar bag, perpendicularly down the center, and
stitching the two halves into position on the head.
The color of the horse must next be determined. If dapple-gray, a few
ink blobs upon the white background will suffice; but if chestnut,
brown, or black, a distemper must be applied with a thick brush. This
distemper can be made by mixing ordinary water color, of the shade
required, with size water, and thickening with whiting.
When the distemper is dry, the “rider” of the horse must get into the
hollow in the center, and secure it to his hips by tying the tapes
together at A, B, Fig. 4. A “valance” of cretonne should then be sewn
completely round the horse to hide the “rider’s” legs (Fig. 5). A pair
of reins, and two dummy legs stitched on the flanks complete the
“mount.”
[Illustration: FIG. 5.--Ready for the tournament.]
It will be noticed that in Fig. 5 the “rider” has a short skirt at the
waist of his coat or armor. This is to hide the manner in which the
horse is attached to the “rider’s” hips, and the junction of the dummy
legs.
These horses can be used in numerous ways. A very effective item in
which they might be employed is a “tilting scene.” Two knights attired
in armor--this latter commodity can be easily constructed, as it
consists simply of back- and breast-plates made from painted cardboard,
with a helmet of the same material--“canter” into the ring. A clown
follows them, also mounted, and carrying two long poles upon the ends of
which are pads of rag, one covered with soot and the other with flour.
[Illustration: FIG. 6.--Dummy horse for bareback rider.]
The clown then proposes that they shall have a tournament, and offers to
act as referee. He thereupon hands them the poles, and, holding them as
they would lances, the knights retire to opposite sides of the ring. At
a signal from the clown, the combatants dash towards each other, to
commence the attack. The self-constituted referee gets in the way,
however, and comes in for a lot of hustling. The knights again retire,
and once more advance to the attack. But, as before, the clown becomes
mixed up in the affray. This occurs again and again. Finally the two
principals lose their temper and make a joint attack upon the referee.
Pursued by the irate knights, the clown dashes round and round the ring,
making his horse gallop first backwards, then sideways, and perform
other ludicrous capers. At length, daubed with soot and flour from the
knights’ “lances,” he darts precipitately from the ring.
There is another style of “horse” shown in Fig. 6. The carcase is made
in a manner similar to that already described, but in this case the
stuffing must be replaced by two men or boys, who crouch in the position
illustrated in the diagram. It will be necessary, however, slightly to
stuff the “horse” in such places as the head and haunches, in order to
make it of correct shape.
The two men or boys must carry upon their backs an oval-shaped piece of
board, having four “legs” nailed to its side, by means of which the
carriers hold it firmly in position during the performance. This is
clearly shown in Fig. 6. The purpose of the board is to make a flat and
solid surface upon which the “daring bareback rider” can perform.
The performance consists of jumping over garlands and through hoops;
leaping on to the back of the “horse” whilst it is at full gallop, and
other of the more simple feats seen at circuses.
It is preferable, however, that the “bareback rider” should be a clown,
who, instead of jumping the garlands, trips over them, and falls
headlong to the ground, completely misses the horse when attempting to
leap upon its back, and lands on the ringmaster instead, thus making a
travesty of the whole affair.
The next performance should be of a more serious nature.
Among the reader’s acquaintances is sure to be one who goes in for
gymnastics, and he should be prevailed upon to give an exhibition of his
prowess upon the parallel bars, these being preferable to any other
apparatus on account of the small space they occupy. To increase the
interest of the display, a clown should attempt to emulate each movement
as it is performed, but must fail miserably and come a “cropper” every
time. It is advisable to have a set of mattresses to soften any
unpremeditated falls.
HOW IS IT DONE?
Another item suitable for the programme of the home circus is a “mock”
conjuring entertainment. The ring-master announces that Herr
Bluffemstein, the famous illusionist, will present his marvelous
performance. Thereupon one of the boys or young men taking part in the
circus must stalk majestically into the ring, and bow stiffly to the
audience. If possible he should be attired in evening dress. He should
also wear a fierce, upturned mustache, and carry an air-gun under his
arm. A large target is then placed in the curtained entrance to the
ring. This target consists merely of a wooden board containing several
bent nails, upon which lighted candles are stuck. Below each candle a
large number is painted (Fig. 7).
“Herr Bluffemstein” then requests the audience to call out one of these
numbers. Upon their complying, he loads the air-gun, raises it to his
shoulder, takes aim, fires--and the lighted candle over the chosen
number goes out! He repeats this marvelous feat of marksmanship several
times. Then, without warning, the remaining candles are suddenly
extinguished one by one, and a voice exclaims: “I say, mister, how much
longer are you going to keep me blowing out these lights?”
The next moment a boy, wearing a glaring red wig, steps from behind the
target, where he has been engaged in blowing out the candles through
small holes bored exactly level with the wicks.
[Illustration: FIG. 7.--Target for trick shooting.]
After admonishing his assistant for having “given the game away,” the
conjurer tells him to fetch the apparatus for the next trick. The boy
retires, but shortly reappears with a tin kettle and a jug of water.
“Herr Bluffemstein” then proceeds to fill the kettle with water. Having
done so, he holds it over his assistant’s head. A few seconds pass, then
steam is seen to be issuing from the spout!
The illusionist hands the kettle to his assistant, with instructions to
take it away and fetch something else. The boy, however, lifts off the
lid, and placing his hand into the interior, draws out a piece of wire
to which is attached a smoldering ball of brown paper.
The conjurer, enraged at thus having his second trick spoilt, chases his
assistant round the ring. He at length gives up the chase as hopeless,
and entices him to proceed with the next trick. The boy again leaves the
ring; but soon returns with a slate, a slip of ordinary writing-paper, a
wet sponge, and a piece of brown paper.
The latter requires a little preparation before being used. The conjurer
and his assistant must fix upon a certain number--say 21--and write it
reversely on the brown paper with a thick piece of chalk. This, of
course, must be done “behind the scenes,” and the assistant should be
careful that the audience do not catch sight of the figures when he
enters the ring.
“Herr Bluffemstein” takes the slip of white paper, and hands it in turn
to three people sitting in different parts of the room, with the request
that each shall write a certain number upon it without letting him know
what has been written. Whilst they are thus engaged he wipes the slate
with the wet sponge, and proceeds to wrap it in the brown paper, taking
care that the chalked figures come in contact with the middle of the
slate. Placing the parcel on the ground, he orders his assistant to
stand upon it. The pressure thus applied will, of course, print the
chalked figures on to the slate.
The conjurer then takes the paper from the member of the audience who
last wrote upon it. Handing it to the boy, he instructs him to add up
the figures, and read out the result. The boy pretends to make the
addition, but in reality calls out the number previously decided upon.
When the slate is unwrapped the audience are amazed to perceive the
apparently correct figures chalked upon it. But before their
astonishment has had time to abate, the assistant whips up the brown
paper, and displaying the chalked figures to the audience, exclaims:
“Why, sir, there’s still a lot more chalk to come off! And do you know I
nearly forgot the number I was told to call out?”
There are numerous other tricks than can be adapted in the above manner,
but space will not permit further examples to be given. It is a good
plan to finish up with a really first-class illusion, such as
THE INDIAN SACK TRICK
In this illusion the assistant brings forward a sack and proceeds to get
into it. The conjurer then seizes the top of the sack, and pulls it
right over the boy’s head. Producing a piece of rope, he requests some
one in the audience so to tie the mouth of the sack that it will be
impossible for the assistant to get out.
When this is done, the conjurer places a screen round the boy, and
slowly counts “One, two, three!” As he utters the last word, he pulls
away the screen. The assistant is then seen to be perfectly free, with
the sack slung carelessly across his shoulder. When the sack is examined
it is found to be still securely tied with the identical knot made by
the member of the audience.
The explanation lies in the fact that two sacks are employed. The
assistant has one secreted up his coat, and as the conjurer pulls the
first sack over his head, the boy carefully pushes the top of the other
through its mouth. The conjurer hides the junction between the two by
gathering the material together in his hand--apparently with the
intention of making it more easy to tie. Consequently the member from
the audience unconsciously ties the mouth of the second sack instead of
the first. All that is necessary for the assistant to do, therefore,
when the screen is placed round him is to scramble out of the first
sack, stuff it up his coat out of sight, then sling the other carelessly
over his shoulder.
Juggling is another performance eminently suitable for a show such as
the home circus. The only juggling the average person is capable of,
however, consists in balancing a stick upon his finger, or keeping a
couple of balls in motion. But the few hints given below will make it
possible for any one to give a trick juggling performance after a few
hours’ practice.
TRICK JUGGLING
Fig. 8 shows the first feat--that of balancing a stick, card, and wooden
ball upon the hand. The whole secret lies in the card. It really
consists of two cards pasted together, with a piece of wire passing
diagonally between them and protruding about half an inch at each end.
In both the ball and stick are small holes into which this wire fits.
The audience, of course, must be kept in ignorance of this--not a
difficult thing to do when several feet separate them from the
performer.
[Illustration: FIG. 8.--Balancing stick, card, and wooden ball.]
[Illustration: FIG. 9.--Two balls balanced upon stick.]
The feat depicted in Fig. 9 consists in balancing two balls upon a
stick. This is done by means of a wire constructed to slide up and down
in the center of the stick. At first this wire is completely hidden, but
by pushing up the small handle the performer can make it protrude from
the extremity of the stick, and pass through small holes in the balls.
Of course, other objects may be made to balance by this device.
The juggler should also number amongst his apparatus several cardboard
plates of the pattern shown by the three diagrams comprising Fig. 10. A
segment must first be cut from a circular piece of cardboard, as shown
by A. The edges of this segment should then be gummed together, the
result being the conical contrivance seen in B. Lastly, a circular
cardboard ring must be fixed to the edge of this cone, C, and the plate
is complete. It is quite an easy matter to impart a spin to these plates
as they are thrown into the air, and then catch them on the end of a
stick, where they will rapidly revolve without the possibility of
falling.
[Illustration: FIG. 10.--Cardboard plate for spinning.]
Fig. 11 shows a method whereby a billiard ball can be made to roll along
the edge of a fan. A piece of wire is hinged to the bottom of the fan,
the other end protruding about one-eighth of an inch beyond the edge.
The billiard ball, which is partly pierced by a small hole, fixes upon
this wire. If the performer then places his forefinger in the small ring
made in the wire, and works it slowly backward and forwards, the
billiard ball will appear to be rolling along the edge of the fan.
[Illustration: FIG. 11.--Balancing ball on fan.]
[Illustration: FIG. 12.--Trick cards.]
An excellent series of tricks may also be performed by means of a pack
of cards, having each card joined together by a thin piece of twine in
the manner shown by Fig. 12.
Numerous other devices can be adopted by the juggler, and the
suggestions offered above may be enlarged upon considerably. The merest
tyro in the “art of balancing” should thus be able to contribute an
excellent item to the home circus.
Every owner of a dog has taught his pet at some time or another several
little tricks. The manager of the circus should therefore get those of
his acquaintances who possess dogs to combine in contributing to the
programme.
Then, again, a big dog might be clothed in a “bull’s skin” made from
calico, and a farcical bull-fight arranged. Here the circus “horses”
could be once more employed to good purpose.
The “strong man” is a character always associated with circuses, and
there is no reason why the home circus should not possess one. The
weights must be made from wood, painted black to represent the genuine
article. After the “strong man”--who should be selected from the most
powerfully-built of the reader’s acquaintances--has lifted the different
“weights,” apparently with a great deal of exertion, he makes his exit,
leaving them upon the ground. A little boy then enters, and picking up
all the “weights,” walks unconcernedly from the ring.
As has been before mentioned, the home circus presents scope for almost
every kind of amateur performance, but it must be left to the ingenuity
of the reader to give further variety and make the programme as
attractive as possible.
As a grand finale, a stirring, spectacular sketch should be given--such
as an attack upon a settler’s hut by redskins, or a raid on the shanty
of a miner. The main idea in this sketch must be to make a lot of noise,
blaze away with toy pistols at frequent intervals, and burn as much
“colored fire” as possible. The soldiers or mounted police should arrive
in the nick of time, of course, and drive the marauders completely from
the field. Thus everything ends quite happily.