Thank You, America, For Coming to Your Senses

SUNDAY MORNING LOOKING BACK: Big Cage Showdown: Clyde Beatty versus Gunther Gebel Williams

 From 3.13.08

Update: New interesting comment posted

In a post that keeps on posting about Circus Compensation (I am waiting for the bible to appear on it), Henry Edger logged his “book” on this evidently lively blogging issue. He makes some informative points in favor of Clyde Beatty as being the superstar of all time. Not for me to argue for or against right now, but Edgar’s facts and positions did get me thinking, as in...

What makes you remember the greats who present the big cats? I saw Beatty when I was young enough to be riveted to his every move in the cage. I don’t remember having ever sat as still and fixated during an entire act as I did during that one. Every single moment, the audience was wondering will he get out alive? ... Clyde Beatty created dramatic tension. That was the premise to his greatness. A legendary showman he was ...


Scanning my memory, who are the trainers I recall? They can grab us in so many ways. Some of us look for stats — how may tricks turned; some for drama, some for looks and showmanship. Pat Anthony jumps to mind. So does Professor George J. Keller, possibly because the way this college art director-turned-trainer was sold and because of his relaxed nice-guy persona in the arena. So does Tarzan Zerbini for his amusing self-satirizing bravado. So does Pablo Noel (seen here), such a great humorous showman! Some of these trainers seemed to be laughing inside.. Another individual who amply entertained me was Josip Marcan. And so did the rambunctious Tabayara Maluenda, whom I saw with Ringling last year, carrying on like a befuddled Joan Rivers suddenly thrust up against the jungle challenge without preparation. Fine content, though I do go for entertainment. Nice to see trainers breaking free of the GGW mold which they tried cloning for so many seasons.

Mostly, wild animals acts blur past my eyes while I await aspects of a performance that usually hold greater appeal — to me. Some of us saw Trevor Bale as a furniture mover, which may be very unfair. There are those no doubt who have all the stats on what each trainer did. How many rollovers, sit ups, fire hoop jumps etc. I don’t.

Another trainer who caught my passing fancy was a somewhat pivotal figure bridging the more furious past with a gentlemanly future: Charlie Bauman. Beautiful act. Gracious trainer. Wonderful climactic ring picture when a tiger stood up on a rotating pedestal under a shower of globe lights while Merle Evans played Shangri-la. In that one magical moment, Ringling ruled the universe.

Gunther? I gotta tell you, what I most liked about Gunther in retrospect was his agile way with elephants. I realize there have been better trainers. I just liked his easy elegance and those voice commands, even if they were illusory. There are a number of cage trainers that I would place above GGW, mainly because I suppose Gunther was a bit to fey to generate the sort of drama I enjoy from a wild animal act. Too elegant. Which is the very reason why he was so perfect for a new era dominated by audiences wanting ultra-humane imagery. He connected perfectly with his time, and the Ringling productions and pr teams did a brilliant job of packaging and ballyhooing him to the public. Irvin Feld’s finest hour.

But for Big Cage theatrics, I would pick Clyde Beatty any day. The movie Ring of Fear gives us only a variety of camera angles and disconnected bits — nothing like sitting in one seat having a set relationship to the real Clyde Beatty in the cage, in real time, and watching his act from start to finish. In regard to which, I absolutely agree with Henry Edgar that circus art does not come through well in recorded media. When we are there, we watch performers survive by their skills in the present tense, in the flesh. It is not illusion (even if some of the theatrics are just that), for we sense that anything can happen.

So, my "circus compensation" post provoked a mini-stampede of commentators. Big Cage Theatrics — or PETA pandering love-ins? What say ye, anybody out there not already bored to death by this topic... Hey, it’s new on my midway...

[photos: The greats bring a distinctive personality to the ring. Clyde Beatty brought drama, Pablo Noel, comedy. And Gunther -- Mr. Cool?]

3/13/08

SINGING ON SATURDAY: New Brit Big Top Musical Puts Songs on the Marquee ... Might This Start A New Trend? ...

 

And how would you like your circus served today, sir?  Wrapped in ballet ... or steeped in theater?   You said  Cirque free?  A La Cart maybe?  And for music, will it be Karl King or Cole Porter? 

Of the various production elements that go into making a circus performance, by far the most powerful is music.  And the closer it comes to connecting with an audience, the greater its impact on the show. 

We need no better way to illustrate this than to take a look at the 1932 program magazine for  Ringling Bros. and Barnum & Bailey. The holder of this particular copy appears to have written down the titles of favorite tunes played during many of the displays: That 1932 show played at least two songs hot off piano keys that year – “Just Anther Shanty in Old Shanty Town” for a display of aerialists, and  "Lord You Made the Night Too Long” for Wallenda pyramids scaling the high wire.   

Elephants cavorted to  “The Washboard Blues,”from 1925, and “Can’t We Talk It Over?” Family horse riding acts rode to “Keep on Smiling, “ and the clowns held down the track to “Yankee Doodle.”Alfredo Codona's trapeze artistry was serenaded by an 1882, ditty, “The Skaters Waltz."

Can there be any disagreement that favorite  tunes will enhance our reaction to the acts before us?  For my own ears,  unforgettable are the zippytific Stephenson’s Dogs  scampering merrily to  “That’s Entertainment;” Gracious Charlie Bauman collaborating with his tiger friends to the music of "The Shadow of Your Smile;” Single trap daredevil supreme Gerald Soules diving dangerously close to the brink of extinction  as Cole Porter's’ “So In Love”charges the air.

In recent times, with live music missing from most shows, the owners have resorted to either playing  CDs that come with the acts, or producing original scores —the mixed results can veer between appealing and appalling.  

Won’t you play a simple melody?  Yes, please!  John Ringling North in 1956 featured the music of the famed Broadway composer of the musical Guys and Dolls, and billed this novelty  The Greatest Show on Earth, with songs by Frank Loesser.

 Which brings me  to a most interesting development over in  London town, where a new kind  of circus program  under a small tent is causing a promising buzz. Come Alive! The Greatest Showman Circus Spectacular  is making its primary pitch on the songs it sings from the Hugh Jackman film, The Greatest Showman.  Notwithstanding JRN's move above, this may mark a first in circus ballyhoo. 

I don’t know if they can fill out the entire show, but this I know:  I am rooting big time for the success of this venture.  Why?  Because, I can only hope that  it will help put the focus back  on popular songs and pull it away from other trendy embellishments pushed by theater and ballet elitists, which are dragging down and  diluting the primal power of circus.   

 

In fact, Come Alive! also comes loaded with a muddle of materials vaguely alluding to story-telling elements. From the London website Ham and High, which issued a great notice, also issued was a qualm that often dogs Cirque du Soliel reviews:  "Overall this showman mash up is great fun for all the family, just don't ask what it's about." lol.

Nonetheless,  score-wise, have we here the seeds of a new trend in the making?  Are there other films that might serve the same purpose?  Surely one would be  The Sound of Music movie which has been screened to audiences who sing along to its songs.

Movie fans having lunch before a Sound of Music movie sing-a-long at the Hollywood Bowl in 2008.

 So, how might its songs work for a circus performance?  Here are my suggested match-ups:

Title song: I can see a serene ensemble opening, performers moving in slow motion.

My Favorite things:  Teeterboard

Do Re Mi:  Dogs!

Lonely Goatherd:  Dressage

How Can Love Survive? (from the original cast album) Horse riders

No Way To Stop It: Jugglers

Climb Every Mountain:  High wire

Edelweiss  Trapeze flyers

Proposed matches for shows and music 

Circus Vargas / Hollywood movie musicals

Cirque du Soleil / Andrew Lloyd Webber

Big Apple Circus / Broadway show tunes, Cohan to Sondheim

Zippos Circus / The Beatles

UniverSoul Circus / Motowown  

Zoppe  Family / Festive Italian score and music from  Fellini's The Clowns.

Come Alive! may risk getting lost in an ill-defined structure, as seems to have been the plight of Water for Elephants on Broadway.   Would it be too much to ask  for simply some good songs to hear while a winning lineup rolls by?

Broadway Says No to Circus ... Might London Say Yes?

* Updated, 10.18

First, the lowdown.  Every year on Times Square, around a dozen new musicals hit the boards, all dreaming of Tony acclaim and turn away crowds. Roughly speaking, for every five new shows that open, four of them will go turkey before the season ends.  

Water for the Elephants was one of last year’s new contenders, and it opened to a wild array of warring notices, heaven-sent euphoria to hell-bent fury.  Variety proclaimed it “spellbinding.  The New York Times, no surprise, gave it a Critic's Pick.  It was thoroughly snubbed at the Tony's.  Among the testily insulted, Rex the Reid declared, "I thought I had seen the worst of what the 2024 season would bring. I was wrong. I had not seen Water for Elephants yet. Now I have. It can’t get any deadlier than this."

The more tempered notices in between suggested that,  even if the story lines were leaden and plodding, the circus acts,which wowed 'em, might be good enough to merit your patronage. 

Ah yes, and therein lies the two-word problem,“circus acts.’

I have long contended that people do not flock to to the Great White Way to see circus acts. They go to see Broadway Shows, and Broadway shows have virtually never achieved lift off over sawdust and spangles.  The one arguable exception was Barnum, but it drew its gusto from the Cy Coleman Score, Jim Dale's charming agility. Story lines?  Some may remember it for P.T's  wistful infatuation with his star attraction away from circus, singer Jenny Lind.  Circus action was incidental.

Over to  you, London ...

Over there, across the bony pond, songs may hold star power.  In London town under a 700 seat tent, a new kind of singing show centered in or around circus, inspired by the Hugh Jackman flick, The Greatest Showman, is winning early crowd enthusiasm.  Called Come Alive! The Greatest Showman Circus Spectacular,  from a five-minute video sampler, it appears to be drilling down into the film’s highly popular score, whose cast album won a Grammy and  sold 5.3 million copies worldwide. Show has been extended through next March

* The reviews?  With Broadway World giving them, overall, a 67% positive rating, they veer towards the tepid.  None are close to scathing,  and a few give the show's circus content the highest marks.  I can see here what might be called circus acts with popular songs, which can work.   In 1956, John Ringling North featured many of the songs of Broadway composer Frank Loesser, spread throughout the wide-ranging score. 

And, yet, there's more:  Following this theater-circus thread, Disney over here still has in the works an adaptation of  The Greatest Showman.  One might wonder how true they will remain to a largely  fictional take on Barnum’s real life that was roundly and rightly panned by knowing critics.  If they try restoring history, they risk producing something  that ill-fits the film's premise and songs.  They should give as much serious consideration to the fate (to be) of Come Alive! as they no doubt have to Water for Elephants.

Big tops will go up, and new Broadway shows will unfold, each in their own sphere.

WATER FOR ELEPHANTS BITES THE DUST ... BROADWAY BIG TOP GOES DOWN DECEMBER 8 ...

VANISHING WATER FOR ELEPHANTS ... Bucket's Now Half Empty ...

When last I updated, they were comfortably back in the 70% range, and so I though maybe they are finding a hook to keep going.

Latest figure: 56.9%.

From Broadway World, two days ago: "What an embarrassing number even in a week where many shows took a big hit. I expect a closing notice for Water For Elephants sometime soon too

 

Book Quiz Contest Results!

A huge crowd here last Friday, but not a one of them could produce the correct answer to the question: Who was the first and still only performer to land a Gold Clown for the type of act they performed at Monte Carlo? The next day came the answer:

JUGGLER ANTHONY GATTO

The winner:

BONNIE O'CONNOR

Congrats, Bonnie! I will e-mail you to facilitate my sending you your copy.

Two Phone Calls, One About Scott O'Donnell Leaving Circus World, the Other About Ringling Crowd Sizes in L.A.

Sometimes today when we are drowning in AI, bots, and even the "Operator" no longer being there,it is possible to get through.  I just start dialing numbers, hoping that one will still work, better yet, might deliver me to a living human being from the age of He and She.

FIRST CALL: Why did  CEO Scott O'Donnell, as the official story goes, which he confirmed when I reached him by phone, "resign" from circus world?  Scott would only say that he and his overlords (aka: Wisconsin Historical Society) did not share the same vision for the future.

So, dialing for balance by reaching out to WHS and leaving  messages with, among others, Colleen in Media Relations, she did return my call!  I asked her if she could explain how they had come to loggerheads. She promised to consult with others and get back to me.  This she did, but with not a single word answering my specific query.  She sent me the same press release that I already had, which  I quoted from in the story I earlier  posted.  An expert in the ways of the business world might be able to decode this, but I am not going there. 

SECOND CALL:  To Crypto Center (previously Staples) in L.A, about Ringling's recent three day stop there.  To the guy, Lewis, who answered the phone, I said that I was hoping to get an estimation from them of the average number of customers in the seats per performance.  He did not waste an empty second in evasion or passing the buck, but answered: "Between six and eight thousand." The arena seats 20.000. 

Would that have been a disappointment to Crypto, I asked my source.  "No," he replied. 

You can look at the figure in two ways:  What a flop!  Not even half houses!

Or, you can look at the figure in context.  Is there another circus out there anywhere in the world that draws that number of bodies in the seats?

EYES ON THE SCENE: And how did Ringling show?  I have a deep state source who was on the scene and noted that the ends of the arena were blocked out.  Pyrotechnics "were greatly reduced" and the large overhead screens were not in use.The show, he reported, was a "scaled" down version of what he had seen at an earlier date months ago, which amounted to him as a "thinning of the herd." (I like that) For example, an Ethiopian father and son foot juggling was not on the bill.  Some of those in his party, he noted,  were critical of the show, but he stood by the excellent review he had given the show when he saw it earlier in the season.

End of on-the-ground reporting the older fashioned way.

MIDWAY FLASH! MIDWAY FLASH! Scott O'Donnell to Leave Circus World ... Dave Salutos, Another Exit ..

updated: 9:21 AM

The sudden exit of CEO Scott O'Donnell from the ringmaster's desk at Circus World took me by total surprise.

News of his exit came through a Don Covington link.  Naturally my first thoughts where, why? Had he been let go?  So I called CW this morning, to inquire, and they put me through to Scott, which marked the first time we have ever spoken. 

Was it his decision, I asked him?

Yes, he answered. 

Why?

He said he does not share a new vision held by  the state government, which now owns Circus World Museum. For most of its  existence, CW operated as a virtual private enterprise.  But that changed about four years ago, when the Wisconsin State Historical Society came in with much needed funding and assumed  greater control.   Evidently, they now want more power at the Top.  

Momentous achievements on the job, not good enough?  A press release from Circus World overflows in citing O'Donnell's "countless transformative contributions," including preservation of Ringlingville, creation of a master plan "that will enhance the visitor experience for generations to come," and the "driving force" behind the Society's acquisition of the Al Ringling Theatre.  This and more, in but eleven seasons?  Something is wrong with this picture.   

I asked Scott if he will miss being there.

"I put my heart and soul into Circus World" he answered. Clearly, as I heard him speak, the job meant a great deal to him, and yet he is leaving without rancor, ready for an "encore" somewhere else.

Scott's departure will be in tandem with Dave Salutos, who is  retiring at the end of the current season, following a 40 year run.  Ominously, this adds another layer of implicit intrigue to a back story.

Sheer speculation on my part, we may find out what was really going on when we learn who will next assume the CEO desk.

There are some things in life that just don't make sense.  This feels like one of them to me.

 Sad to see you go, Scott.

Step Right Up! Snappy Snippets in Sawdust and Spangles! -- And It's All Free on the Inside!

The circus plays a big role in my new book Keep That Day Job!  Here are some excerpts:              

 The Dark Side of a Spangle

Wallace Bros hired me to usher.  A few weeks later, they recruited me to replace a fired clown.  Now I was “with it and for it,” and now being one of them myself, soon — all too soon —   reality’s wry sense of humor struck, when  I was introduced to a real life sledgehammer.  Sure, such a pleasure to meet you! 

Dining, Haute-off-the-lot at Wallace Bros. Circus

 $25.00 a week ... Not bad given the sweet free extras that come  with the glories of performing — your flat bunk in the truck you share with the band, and the three full-course adventures served you each day in the “gut foundry” as some called it — while others preferred  “ptomaine joint,” for cookhouse. One of our musicians regaled us over his having ordered  chicken fracases for dinner and being served “fried flower” 

      Pitching Elephants to ABC from a Payphone

I am off skates, on a pay phone at the Greyhound bus depot in Chicago, having just arrived with a list of media contacts in hand.  Time is of the essence, only three days before the circus of Sid Kellner, now titled George Matthew’s Great London, is to open in the suburb of Oak Terrace.   I shove a lot of change into the phone, and start frantically dialing up local TV and radio stations, hoping to land free coverage

Typing through Tears

Up to my clerk's  desk at a chemical company in Century City, steps the office manger, handing me a just published rave review in Variety of my musical, Those Ringlings. After reading it, I continue pecking dutifully away  as a flood of tears come rolling down my face.  No town like this town.

The Ringlings, as Cast in Hollywood

Jeffrey Rockwell, who played Al Ringling  was the son of Robert, who had played Mr. Boynton on the TV version of Our Miss Brooks.   Hal Landon, Sr., who played August Ringling, was in real life the father of Hal Landon, Jr. The closest  geographical link to Ringling history was Wisconsin native Joseph Lustig, who took on the role of Alf T.    

Wishing I Could Be with Sid

At my first Kaiser Steel Christmas dinner on Lakeshore Avenue in Oakland, while walking back to a private dining room the firm had secured,  I spotted a former boss,  Sid Kellner, sitting on a bar stool chatting with a woman of looks sitting next to him. How I wished I could be sitting with Sid instead. But Sid was from another time.  And he could have been so much more, as I would profile in my book Behind the Big Top.

Buy your  big show tickets now at the Amazon Annex!