Wat exactly should I be reporting on?
“Circus,” as defined by Webster’s 10th:
An arena often covered with a tent and used for avariety shows including feats of physical skill, wild animal acts and performances by clowns.
I wonder if the new 12th edition has been revised to read:
A word used by a wide variety of traveling acrobatic troupes that sometimes include animals and/or clowns.
Would this not be as accurate as was the older definition?
We are adrift in a sea of circus show variations, which makes watching and reviewing them a challenge. I see no clear unifying thread relative to the season now ending, so I will asterisk away, first taking the time to thank Don Covington and Alex Smith, on this side of the pond, Douglas McPherson on the other, for helpfully sending me numerous news and feature items through the year. Okay, in no particular order .
* WHO OWNS BIG APPLE CIRCUS? Never in my days of circus going have I not known the name(s) of those who owned every show I followed or read about. Paul Binder's gift to New Yorkers seems to have devolved into a tangle of owners and venture capitalists, once if not still Sarasota based, known as Compass Partners. If only one of them had a compass pointing to successful full season operation.
* A KING DISPOSED? Another dysfunctionally out-of-order curiosity is the Wisconsin Historical Society, now owner of Circus World Museum. They let CEO Scott McDonnell, above, go, and then to replace him, hired and, a few months later, fired Julie Parkinson. When I spoke with Scott, he lent the impression of a conflict with his new overlords at the State Historical Society over future directions and goals for the museum. Why Oh Why?
* BLOOD OVER HUGO; Two tragic deaths in a single season. Traci Byrd allegedly shot dead by her boyfriend, Armando Caceras, he reportedly the prime suspect. Worse yet, tiger trainer Ryan Easley, only 37, mauled to death by one of his tigers in September. My deepest sympathies to Ryan’s family and to the folks of Hugo.
* BAFFLING ZOPPE NO-SHOW. Little Ilario Zoppe, heretofore a gifted clown, this year not making an appearance until the very end of a so-so show, and not in greasepaint. He’s being trained in hand and foot balancing. Why oh Why? I waited to see both him and his brother, Julien, and was stood up. Their absence left a hole in a thin program. Makes no sense whatsoever.
* L0SS OF A WONDERFUL BIG TOP BOSS, Johnny Pugh, February 17. I never met the man, but was lucky to interview him by phone. Talk about warm and caring. A swell down-to-earth guy — heck, the nicest guy who ever ran a circus? Born in the Kennington district of London to showman John "Digger" Pugh, John came to the states as an acrobat, and would help save the Beatty-Cole show. He also served as a judge for Prince Rainier's Monte Carlo Circus Festival. What a pleasure it is to watch YouTubes of Beatty-Cole in the 1980s, during that last great American circus decade. Even through the gauze of crowds streaming down the track during the first displays, action in and over the rings keeps us completely satisfied. Circus straight ahead. It always starts with and comes from the person at the top.
* FINDING BIG STARS UNDER LITTLE TENTS. Rarely am I not wowed by one or two. Happened this past year when You Tube rolled Flip Circus my way, a name new to me. Two standouts: A fellow scaling and body-contorting up and down a Chinese pole, so refreshingly novel an attack. And on the same bill, two dashing jugglers working a brilliantly inventive routine — even with too many flubs. I wold gladly pay to see them again.
MAYHEM IN GLOBES OF DEATH, from Rome to America. I’d never known of a single accident over here. But, as scrupulously researched by Douglas McPherson, turns out it can and has happened to motorcycling daredevils madly circling each other. A few riders over time have not come out alive. At least one this past year, in Italy, and four non-fatal crashes in the UK. Broken bones and dead bodies sustain in the public's mind the element of risk at the circus. And their popularity tells us that the crowds still want risk.
* ONLY IN SAN FRANCISCO Circus Bella, a free summer show at Bay Area parks featuring local talent, turns into Club Bella in December under a 300 seat designer tent, as suave as what might pass for cinema in space. How I’d love to experience it, but not at prices ranging from fifty to eighty bucks. I’ll wait for grass. Sadly, the show's exceptionally talented composer and musical director Rob Reich, 47, passed away earlier this year. He and his band gave the show one undeniably world class attribute. He could have been a giant -- when circuses were giants.
Out, Damn Cirque!
* CIRQUE DU MYSTIFY: Funniest found quote, shuffling through old papers, this from Lyn Gardner of The Guardian, in a 2008 review of OVO: "I know plenty of people who would quite happily pay me not to sit through a Cirque du Soleil show." (Her one-star review of the exhausting Cirque yawner, Amluna --- I gave it a grudging 2), resulted in the Montreal monster revoking her press pass.) I myself loved the first CDS shows, but now, a survivor of too many plodding latter-period duds, I have tittle desire to face the dark existential gloom of ECHO, now emoting to the perfect town for such, San Francisco. I suffered through its tyranny on my flat screen. Maybe it's something about the human figure being turned into abstract body parts. Maybe a primer on group suicide?
* DANCE ON, ZIPPOS! Never have I seen hoofers at a circus carry on as if they were on Broadway and choreographed by the best. In this instance, favoring the contortionesque patterns of Bob Fosse. What a revelation. Called Candyland 2024, from Zippos in the UK. See for yourself on You Tube.
* DOGS R US. And never more so than when a circus comes to town. You can take this sprightly charmer out of the ring, but you'll never take the ring out of its heart. Even Kenneth Fled couldn't resist himself in a wimpy cave to a robotic mutt he calls Bailey. The lone figure of real circus was such a hit with customers that Feld is giving Bailey more to do in New Ringling S2. (see more about this in my post below.) If performing dogs can win TV competitions before millions, what's to stop even our most timidly temporizing owners from granting the audience that which it clearly adores and has few "issues" with?
* DOGS STEAL THE SHOW AT BIG APPLE CIRCUS --- only act on the current bill reviewed by The New York Times. Yes, true, confirmed and certified by cyber courier Don Covington. The honor goes to Olate's capering canines, who had previously won first place --- and one millions dollars ---on America's Got Talent 2019. And what, might I indiscriminately inquire, does this say for the rest? The Times hates to review circuses in the negative. Inexplicably, they ignored New Ringling.
* FANFARE AND FAREWELL How sad was I to learn, from Maureen Brunsdale, that she is leaving her post at Illinois State University, where she oversaw their circus holdings. Health reasons, the cause. So lucky was I when I queried her back in 2011 on taking my papers and interview tapes under he aegis. She, unlike a number of unmovable others, said yes with a glow on her face (or so that’s how it felt.) I can’t think of a more stable or appropriate place for my work to reside. Colleges are not subject to disruptions and fire sales. Maureen landed the Henry Ringling North papers and the massive 250,000-items collection of Herb Ueckert. She authored the eagerly received bio of Art Concello, In the Shadow of the Big Top, for which, The Circus Historical Society awarded her their Stuart Thayer Prize. I will forever miss her.
* ILLINOIS DAVID? My first circus review was set into type at the Hohenadel Print Shop in Rochelle, publisher of The White Tops. In Champaign, the University of Illinois Press published my most successful book, Big Top Boss: John Ringling North and the Circus. And now, my papers will reside in Normal. Bless you, Maureen, for taking them in, and may you find rewarding new subjects to write about in the next chapter of your life.
2808 1.18.26
10 comments:
Since my Facebook algorithm has me pegged for circus interest, I get a lot of short videos from various shows around the world. The thing that really stands out to me, as far as the major shows like Knie, Krone, Roncalli , Bouglione, etc is how atmospheric they are. Such richness and the perfection of the design and sparkling condition of everything - inside and outside the tent. I'd also say that 3/4 of the audience are adults - older and younger couples. In that way it is the same as Soleil and how the old Big Apple used to be. Say what you want about Soleil, but the production is immaculate. The skills of the performers are second to none and there isn't a single boring minute in the show. The response from the audience is genuinely heartfelt - some acts get standing ovations. I'm sorry, but almost every other American circus bores me to tears. The sameness and predictability of the acts. I can't take another giant wheel, hula hoop or lyra act.
I have a theory about the classic European circus vs the American incarnation. Europeans can spend 3 hours eating dinner in a restaurant. They are patient and savor every moment. We, on the other hand are eternally restless. Look how many audience members leave at intermission.
Paul Binder's Big Apple was a phenomenon in America. It was a truly gorgeous show and not a soul left without feeling they'd gotten their money's worth. Soleil is expensive but people don't feel ripped of and return again and again. Reading the comments under every Soleil video, they have some serious fans. I also think that a lot of the new style of presentation in European circuses came from Soleil. Obviously something people like and will pay for. The units working in Europe are sold out months in advance.No free kids tickets or Lions club sponsorship needed.
But, I liked the old Big Apple in the days of Katja Schumann and the Ringling of the 80/90s as much as Soleil. They are all different styles. No need to pick one.
There was a time I thought I could never enjoy a show without the animals, but now I'm finding they aren't necessary and who needs the constant bad press.
Anyway, those are some thoughts I had today while watching videos. I sometimes think that while Europe is conserving their architecture and culture, we just let the best things we once had go to hell in favor of the national attention deficit disorder and throw away cheapness.
You comments are much appreciated.
Horses, sawdust, live band and full house. Looks like circus to me https://www.facebook.com/reel/2757603645465186
Note to all: I had trouble at first pulling up this link up, to Circus Krone, but then it came through A most delightful clip of two jugglers standing on two horses, one following the other, cross juggling, and they have upcoming 2026 dates.
Note to the Felds: NO ONE LIKES SINGING RINGMASTERS. People tolerate them (barely) because they want to see the rest of the show. There is no definition of 'circus' anywhere in the world that includes singing, so stop it. And the ridiculous, childish story lines. Keep the themes for spec. Why, oh why are the Felds so stuck on some elements that they can't let go of. You annoy the crap out of people. I bet you not one in a hundred people ever sees Ringling twice. That is the problem they should be addressing, not how to extract as much money from every patron before they flee at the end of it all.
Here is a review of Big Apple Circus' 2025 show which just closed at Lincoln Center on January 4th: https://theaterlife.com/big-apple-circus-9/
Above comments have a lot to unwrap. I'll keep my opinions brief.
1) European market is much different than US market. The expectations, history and government support is much different. Roncolli tried. Big Apple has long been on the decline. All of the successful "European" style shows in the US relay on gimmicks: blood & gore, water, intimacy etc to sell tickets.
2) Feld understands the fate of the American circus and signals are everywhere in that new tour. They don't care if anyone under the age of elementary school enjoy or relate to the production: they are attempting to get the next generation of parents interested in the circus. They are heavily promoting and developing children's programing which keeps the circus in the home after they leave. Historically, in the last 30 years or more, the circus in America has relied on parents wanting to bring their children to share in a experience of their childhood. A rapidly failing business model as the new generation become parents. Free Kids Tickets plugged this hole for a long while and continues to do so, although it's effectiveness is waning. They create an inorganic impulse for parents to bring their children.
All this to say, a European model will not save the circus in America. Gimmicks will keep that segment afloat. Figuring out how to get children interested in the circus again, and redeveloping the "cycle of life" on circus attendance is what will save the circus in America. Perhaps, getting kids familiar with the circus and asking to go back will help in the short term. Feld is doing this at rapid speed, for better or worse. The concept of the circus has to be broken before it can be rebuilt. It's a sad reality for those who long for the circus as they remember it: you are the last of the ones keeping that "cycle of life" a float. And you are surely the minority.
I need to correct myself. In the previous comment I said Feld doesn't care if anyone younger than elementary age relates to the show. They certainly DO care about this demographic. I meant to say "Feld does not care if anyone older than elementary age relates to the show." The show is special built for young children.
The ad I saw had a hip hop, rapping singer. Do they REALLY think that rap fans are their target audience and that,if it were, they'd accept a white woman rapper? The level of out of touch with the Felds is staggering.
"A white woman rapper?" LOL! Maybe the Felds can reinvent the world?
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