Spec-ology of the Circus, Part Two

In 1918 the Barnum & Bailey Greatest Show on Earth opened under canvas in Brooklyn, New York, traveling on 89 cars. The Ringling Bros. World's Greatest Shows opened under canvas in St. Louis, Missouri on 89 cars.

Routing of the two circuses was a challenge as the railroads were under the control of the government due to the war conditions. It was often very difficult to move the shows from city to city. Other reasons also played a part in the decision to tour only one show in 1919. The brothers were concerned that the Ringling brothers were passing away and there was a lack of family to manage two circuses. They were also aware of increasing competition from motion pictures, and that the country could not support two giant circuses.

As the season progressed it became clear to the Ringling brothers that moving the two circuses in 1919 would be nearly impossible. The government advised the Ringlings that it would allow only enough engines to pull one show. Midway in the 1918 tour the Ringling show was routed to close the season in Clarksdale, Mississippi on October 18. However, the show closed in Waycross, Georgia on October due to the influenza epidemic.

But for the first time in its history the show did not return to Baraboo, Wisconsin; it was sent to the Barnum winter quarters in Bridgeport, Connecticut. Following the closing stand of the Barnum show in Houston, Texas on October 8 the show was sent to winter quarters. It had been billed for ten more days but these stands were cancelled due to the influenza epidemic. When the Ringling show did not return to Baraboo it appears that the real estate and excess equipment was just abandoned. The Bell wagon and some animals were later sent to Bridgeport. Most of the business records were left in the office building on Water Street.

Merging the two giant circuses required a massive effort. The best equipment was taken from each show. Many of the rail cars were old and nearly worn out. Serious decisions had to be made concerning the department bosses. The 1919 big top housed three rings and four stages leaving no room for scenery that blocked out a large part of the backside reserved seats and was a long distance from the cheap seats in the blues.

Charles and John Ringling were the dominant force in guiding the show in a new era. They decided to parade in 1919 and in 1920. However, the massive, themed specs of the past were not continued. Instead a tournament opening was presented that included a number of small floats from former productions. The best known of these was the Cinderella carriage used in 1919 and 1920. Another was the Egyptian-themed one that remained in use into the early 1930s. Another was the former Barnum & London Santa Claus pony float. Perhaps the oldest wagon was the 1871 Howes Great London dragon float. It used as late as the 1930s. In 1919 the spec was listed in the program as the Introductory Pageant. The format was basically the same until 1924.

In 1925 it was called Fete of the Garlands, presenting 70 riders on horseback. In 1926 it was called Tournament and Garland entry. This format continued through the 1932 season. In 1933, the fiftieth anniversary of the Ringling title, a real name was placed on the grand entry, The Durbar of Delhi. The feature of the pageant was Modoc and Helen Leslie, both painted gold. A special lithograph advertised the opening parade. Without the gold elephant, this title was used through the 1936 tour. India was the spec title in 1937. A new litho advertised it. From that time on the spec title was changed each year.

John Ringling North, at age thirty-four, took control of the big one in 1938. North returned to the old style of themed opening spectacles. He hired Charles LeMaire, a Broadway designer, who had worked on George White's Scandals and the Ziegfeld Follies and had designed costumes for stage, screen and open-air spectacles. LeMaire created and supervised a completely new spec titled Nepal. The pageant was an introduction for the entrance of Frank Buck.

The spec opened the performance. The program told of it, "Inaugurating the pageant, a mounted herald charges forth to proclaim the entrance of the Maharajah, Seated in the royal howdah atop his state elephant, the potentate approaches, surrounded by his native princes, his guards, his mounted officers, preceded only by his crack Nepalese band, clad in black and gold. Following come the fan bearers, the parasol carriers, and the dancing girls. Then lumber along the royal elephants bearing in regal state the many Maharanees, the visiting princes and English officers, troops of Hindu horsemen-all to welcome Frank Buck, who enters in hunting garb, riding in a basket howdah on his hunting elephant, His native hunters and bearers and his Malay stalkers follow, leading and carrying wild animals captured for the circus. Then come native girls bearing bowls of strange fruits, garlands of hibiscus and wild orchids - the entire spectacle closing with squadrons of Bengal Lancers in intricate drills and maneuvers in the rings and on the hippodrome track.

The Maharajah of Nepal and his court described the spec as an enacting of the Royal welcome afforded the jungle king upon his triumphant return from Malaysian wilds. It featured "Bring 'em back alive" Frank Buck riding in a howdah on an elephant. A squadron of Bengal Lancers appeared. Later in the performance Gargantua the Great, the giant gorilla, made a trip around the hippodrome track in an air-conditioned cage.

The April 16 Billboard included these comments on the spec: "Display 1 , Inaugural Pageant. Even in frequent program references the Big Show disdains modesty in telling the world that it is in the throes of a new era. This is evident from the first moment the show begins to the curtain closing chariot races In which Frank Asher has an unrecognized young lady as his contender. Modernization is the keyword and this is easily discerned in the streamlined character of the costuming, staging and running order Of the spec, titled Nepal this year and providing an allegorical starring part for Frank Buck, recruited by the tradition blaster, John Ringling North, to give the show an added touch of glamour and another springboard on which to catapult publicity. Long famous and successful in the legitimate theater as a designer of costumes and mountings, Charles LeMaire makes his debut as a circus factor with his excellent work in creating, supervising, designing and lighting the spec, as well as lending his influence and good taste to costume designing and trappings through out the show. One astounding result is that there is a revolutionary improvement in color blendings; eye-filling effects are frequent and there is achieved every benefit of circus sparkle and tinsel without any of the gaudiness that could be called by the name of cheap by those without a modicum of kindness. Nepal is truly a thrilling ambulant spectacle from the girls who lead the way deftly twirling batons, down through the wild animals that are led and carried, and winding up with Buck waving greetings from his howdah, his colorful entourage and the troupe of about 50 Bengal Lancers, As the spec procession melts back into the cavernous depths of backstage the Lancers fill the hippodrome track and the outside rings, engaging in ingenious drills under the leadership of William Heyer, one of the show's equestrian professors."

The April 9 review in the New York Times included the following: "The audience gasped at something new in the procession for, walking along on chain leashes held in the firm grasp of handlers, were a Bengal tiger and a snarling lion. Other animals cheetahs, monkeys, camels, zebras, midget burros, a cinnamon bear, llamas, tropical birds, a wooly yak and miniature African elephants - also were in the parade."

LeMaire was back in 1939 to create The World Comes to the World's Fair, inspired by the New York World's Fair that year. It too featured the Squadrons of Bengal Lancers as well as costumed people representing people from various parts of the world. The program stated, "From the far corners of the earth and near come the marching hosts. From Europe, South America, South Africa, Australia, Canada and India they bring rare objects for The World's Fair, whether mounted on elephants, gold and silver draped, a horse or on camels, in palanquins or on foot. Impressive is the cortege of the Maharajahs and Mabarnces of the British Indian empire with its famous Escort of Honor, including Squadrons of Bengal Lancers."

The New York Sun review of the opening appeared on April 6 and read in part, "The World Comes to the World's Fair in costumes and motif is not much different from last year, except that Frank Buck was sitting in a box seat alongside the arena instead of in a basket on an elephant."

In 1940 North had had enough of La Maire, and signed French designer Max Weldy to create, costume and produce the new spec The Return of Marco Polo. Weldy had designed shows for the Folies Bergere and Casino de Paris in the French capital. The program stated the trapping and costumes cost over $80,000.

The Variety review said in part, "It was the longest show in six years and exited at 12:45 a.m. In color, the Ringling show has never been more attractively dressed, that going from the opening spectacle The Return of Marco Polo. The gay tones of the costumes and the various trappings registered distinctly with the first-nighters. Six bands are used during the procession, which lasts about ten minutes.

North hired Norman Bel Geddes, of New York World's Fair Futurama fame to redesign the whole circus for the 1941 tour. On November 4, 1940 Geddes wrote John North outlining a contract for his work for the Big Show, "This confirms the understanding that you have employed us as designers to perform the following services:

"We will perform all design services required by you for the circus from this date forward.

"We will make a study of all circus problems, wherein design to improve the visual results, or reduce the cost of the operation.

"We will prepare a program recommending how the execution of our designs be spread over several years for economic reasons.

"Included in the scope of this work is the design of all costumes, tents, spectators' seats, menagerie cages, wagons, a new midway, side show, concessionaire space, entrance canopy, banners, posters and signs.

"For our services you will pay us a retainer fee of $1,000 per month, plus reimbursements for costs, not to exceed an average of $1,500 per month. Either of us may cancel this agreement and end all obligations of each under this agreement at any time, by notice in writing to the other 60 days in advance, retainer fees are due monthly in advance, starting on the date of this agreement; costs will be billed by us and payable monthly."

The Bel Geddes staff included producer John Murray Anderson, costume designer Miles White, assistant producer Thomas Farrar and construction draftsman Walter Jaegerman. All but Jaegerman would later work directly for the circus. It is thought that one of the Geddes group came up with the term "payoff" float as the designation of the final float in the spec. Bel Geddes designed the spec Old King Cole and Mother Goose as well as a new tent for Mr. and Mrs. Gargantua and changes in the midway, menagerie and the big top.

The 1941 spec floats were: the Bell wagon, pulled by six horses; Old King Cole, with Felix Adler; Two Jesters calliope, with a four horse hitch; Jack Sprat and Wife; Jack and Jill; The House That Jack Built and several pull carts and litters.

At a January 24 meeting with North Bel Geddes out lined some of his plans. A report of the meeting read in part, "Everything in the circus should look as if it is happening for the benefit of Old King Cole. The Court animal act cannot be part of the King's entertainment, because it is too dominating in itself-, a horse spectacle would be the same, as well as any other big arena act, except the elephants and things that have a special quality, or any period act that doesn't fit in with the Mother Goose idea. Therefore, we should start the circus with two or three obviously unrelated acts.

"The main reason for not wanting to start with the spec is because later we can do a spec of much more beauty, because we can then use all three rings.

"Mr. Geddes said he thought a horse number would be a very good opening. He said he would like to see a great pageant that is the equivalent of a parade, such as dressing all the horsemen like Bengal Lancers and have them do some routine.

"He asked how many horses the ring will hold. Mr. North said a lot, but that many horses will cost so much more in additional costumes that it will be like having two specs. Mr. Geddes and Mr. North agreed that if the Lancers costumes, which they already have, are in good enough condition, we won't have to make any news ones for them.

"King Cole and his Court, clowns riding on elephants, were discussed next. Mr. North was very pleased with the plans for this group, but said that we would send a letter to Florida quickly, with a little rough sketch of how these will work because they require howdah elephants and they must be trained soon.

"Mr. North warned that it might not be possible to have anybody ride on the pygmy elephants.

"Mr. Geddes asked if we can dress up giraffes and use them in the spec. He also asked if we could dress up ostriches like ballet girls."

The Old King Cole and Mother Goose spec was display number five. The program listed John Ringling North as producer, Norman Bel Geddes as creator of costumes and Alberta Rasch as ensemble arranger.

Another large production was display number 17. It was titled An Evening in Central Park and featured Roberto de Vasconcellos. A number of other riders appeared in the number.

On August 14, 1941 Geddes wrote John North, "This is to confirm the agreement reached in our recent discussion whereby it is acknowledged that we have completed all of the work for the circus assigned to us in connection with the 1941 season under our contract of November 4, 1940 and that payment therefore will be completed on receipt of our retainer payments through the month of October 1941.

"We hereby agree that for the 1942 season we will perform the services listed hereunder:
"1. Design of costumes and uniforms for the spectacle and various acts for the 1942 show.
"2. Design and/or suggestions for the equipment used in various acts in 1942.
"3. Recommendations for lighting the 1942 show.
"4. Continuation of our general studies of new equipment including a sketch of the new type tent for publicity purposes.
"5. Suggestions and designs for improving the various special exhibits and displays to be used with the circus in 1942.

"We agree to undertake this work for $30,000, plus an additional sum of 10% if our costs for performing this work exceed $15,000, to be paid as follows: $5,000 on the signing of this agreement. $10,000 on or before October 1, 1941, $10,000 on or before November 1, 1941, and the balance due on or before April 1, 1942." (Author's note. $30,000 in 1941 is over $250,000 in today's dollars.)

On November 6, 1941 the circus signed a contract with John Murray Anderson at a salary of $10,000. It called for Anderson's services for a total of ten consecutive weeks, beginning on or about February 2, 1942 and continuing until the end of the first week's run at Madison Square Garden. Payments were due as follows, $1,000 on the signing of the contract, $1,000 on December 1, $1,000 on December 29, 1941. The balance was to be paid at the rate of $700 per week, for ten consecutive weeks. Beginning on February 2, 1942. The show agreed to employ a stage manager, an assistant and a costume designer. Anderson insisted that his name be displayed in all circus billing as large as any other person connected with the presentation of the circus, excepting the name of John Ringling North.

Bel Geddes created the 1942 spec called Holidays. John Murray Anderson who staged the pageant, joined him. It presented the festive gayety from New Year to Christmas. Anderson also staged a clown number, The Ballet of the Elephants, and Fiesta Del Torres, a large horse number featuring Robert De Vasconcellos. George Balanchine directed the elephant number and Igor Stravinsky composed the music for the elephants. The 1942 floats included the Bell wagon with icicles, pulled by four horses; Halloween; Santa Claus, pulled by four elephants; Blarney Stone; Christmas Sleigh, pulled by eight elephants; Two Jesters calliope; Gorilla's Wedding Cake, pulled by four horses; Christmas; Thanksgiving; Water Wagon (New Years); Easter and St. Patrick's carts; Shamrock Planter Cart; Valentine 1; Valentine 2; and Liberty Bell (July 4). The new floats were built by Studio Alliance in New York.

The New York Times review stated: Norman Bel Geddes and John Murray Anderson, the opening disclosed, have created a circus with the pastel quality of a child's dream. Spangled satins in rich colors, touched by roving spotlights, carry out the dream illusion. The Parade of The Holidays, from New Year's Day through Christmas, seemed to hold children and adults breathless.

"Easter, with living lilies, human sized bunnies and yellow chicks played by human midgets, all moving across the blue sawdust in astonishingly lovely rainbow lights, presented an outstanding spectacle.

"The last two holidays, Thanksgiving and Christmas, surpassed the rest. A family of midget Puritans ate the first Thanksgiving feast on a dream float. Behind them stalked grave human turkeys.

"Last in line were human pumpkins, ranging from fifteen feet in height-these were the stilt walkersto pumpkins only two feet high, played by the midgets. The little pumpkins danced and capered.

"In the Christmas number the Garden suddenly darkened. Mellow chimes sounded, sleigh bells jangled and the hall filled with Holy Night. Seven enormous elephants, with white reindeer antlers fixed to their heads, moved into the lights shafted from the top tiers.

"The elephants were covered with blue spangled howdah clothes and bore the names of the reindeer of 'Twas the Night Before Christmas' Beautiful girls, in white, swayed on their backs.

"At the end of the pageant came with a forty-foot sleigh in brave red and snow white. Midgets dressed in green velvet and red velvet crawled all over it and a potbellied Santa Claus, dressed in red velvet, waved at the children in the audience.

"Just before the exit, artificial snow fell from the Garden's rafters, turning in the blue light as if under a winter moon. The hidden circus band swelled with triumphal brasses and all but drowned the chimes and sleigh music with the notes of Jingle Bells."

The April 18 Billboard had this to say, "So this year it's a combination of the holdover innovations of Bel Geddes and the new regime of Anderson, but, to judge by some the touches introduced, the later has been listened to. There are dashes of unadulterated corn, but only critical sophisticates, self-styled or pure, can count them, and the point isn't important. The spec is Holidays, a run through from January 1 to December 25, conceived by Bel Geddes and staged by Anderson. Nice floats here with swell garments and it won't lack devotes. Big scene is the windup Christmas sleigh drawn by eight bulls with Felix Adler aloft on the driver's seat." The Two Jesters calliope was decorated with panels reading Happy New Year. The Bell wagon sides were covered with icicles.

On September 11, 1942 Geddes wrote to John North, "Miles [White] and I have agreed upon the following terms:

"An increase of $500 over last year which would make his salary, covering his work for the circus, $2,500. In addition I am to pay his expenses, not to exceed two weeks, in Sarasota including his transportation.

"Also I am recommend to you that his credit be advanced from the rear of the program to the front. I told him I would be delighted to do this but only under the condition that Mr. North would agree to advance the credits of Farrar and Jaegerman also.

"Miles made it clear that he was accepting this under the condition that Brooks compensated him additionally for other work he would be able to do if he was not working on the circus.

"The circus will look no different whether we use Miles or other people to make the costume drawings any more than if we lost Walter Jaegerman who makes the property and float drawings.

"After all it was I who found Miles and gave him his first job and the same can be said of a lot of other people. But the important thing is that we have never yet failed to deliver, and whatever our value is as a design organization is not dependent upon individual employees."

The annual meeting of the circus board of directors was held on January 7, 1943. John Ringling North was ousted as president of the company. Robert Ringling was placed in the catbird's seat as the new president.

The circus fans got a break with the 1943 spec and children saw something that they had never seen before, an old time street parade. It was titled Hold Your Horses. John Murray Anderson staged the performance, Max Weldy was production manager and Vander Barbette joined the show as aerial director. The spec was moved back to start the performance. The Anderson-staged tournament included horse drawn cages and the Two Jester calliope. A new bandwagon was built for the "parade."

The spec consisted of: Introduction; Two horse buggy with Fred Bradna at the reins; Five riders with banners; Liberty bandwagon, six horse hitch with Merle Evans and his band atop; Two riders and flags; Clown police patrol wagon; Cage No. 71 - two artists on top, 4 horse hitch; Eight riders, with banners; Cage No. 95 - 4 horse hitch; Elephant with howdah; Cage No. 77 - two elephant hitch, with four people on top; Two camels with riders; Bareback rider on white horse; Donkey and Clown; Cage No. 73 - 4 horse hitch, clown band on top; Two riders; Cage No. 75 two-elephant hitch Four actors on top; Two-horse riders; Old Dog and Pony Wagon (1884) Four Shetland Pony hitch; Cage No. 70 two-horse hitch; Two four horse chariots with riders-Old Roman type; Eight riders; Five elephants; Two Jesters calliope.

The old clarion Bell wagon was not used that year. The new Liberty bandwagon was beautiful with very good carvings, with some from old parade wagons. There was a door in the rear to store props.

A second large production number was titled Let Freedom Ring.

In 1944 the Panto's Paradise was moved to display number seven. The April 8 Billboard published an article about the preview in Sarasota on March 26. It read in part, "Top-billed, and rightly so is Panto's Paradise, middle of the show spec, which over shadows all previous spec for costumes and grandeur. Featuring the clown Emmett Kelly, Paradise is a dream of a hobo in fairyland with beautiful girls in fantastically beautiful costumes. Four new floats, each of which is a whole show in its own right, will one day equal in fame such old-timers as the Four (sic) Hemisphere series and Liberty bandwagon drawn by 20 elephants. Kelly and the girls loll on a cloud like pink float festooned with jewels and spangles. At the tail end is a two-wheeled trailer with one of the Doll family in angel costume on a pink cloud.

"The ballet, done by Lauretta Jefferson, assisted by Robert Ringling, is magnificent. Dance of the Seven Viels, Rockette-style chorus in checkerboard velvets of orange, yellow, purple, red and green, with ostrich plumage fore and aft, brings one back into the Ziegfield heyday. Acclaimed by audience, raved about by the press and bragged about by all circus hands, Paradise is truly the spec it is billed to be."

The New York Times reviewed the performance on April 6. It said in part, "The evening's eye-dazzler was 'Panto's Paradise.' A new and fanciful funfest, lavishly garnished with unprecedented color, beauty and splendor, featuring the world famous prince of pantomime, Emmett Kelly, the clown with the sad face. They went to town on this one. Kelly found himself in the center ring, fast asleep. Then unfolded his dream in the shape of dancing girls, picturesque floats, dancing elephants, prancing horses, and - you guessed it Kelly, himself, the tattered clown, receiving the tributes of all."

Bob Ensworth wrote the White Tops review. "Panto's Paradise, featuring the prince of pantomime, newly-wed Emmett Kelly, is next. As gorgeous a spec as the Ringling show has ever sent parading-and that's saying plenty! Cleverest touch in the parade, to this writer, was Lou Jacobs and Ernestine Clarke. Lou is presenting the Percheron-perched lovely with a rose, duplicating the famous circus picture, which forms the cover of this year's Big Show program.

"We'll let the final float be a memorable surprise. It's an elephant hitch affair that best be described by reporting merely that it tops the Old King Cole wagon and even Santa Claus of Holiday fame."

The 1945 spec was titled Alice in Circus Wonderland. The Billboard review reported, "The spec closed the first half of the show. When they finally did give it to them, really was something to behold. All through the show the costuming was such that it rated the superlatives tossed about by reviewers for the New York dailies, and there is no question but that the bulk of the audience never before had lamped the famous Five Graces bandwagon, loaded up with capering, monkey-costumes, the four tableau wagons representing the Toad Stool, the Iceberg with the Sea-Lion and Penguin, the (Two Jesters) calliope, the pony drawn cross-cage carrying Humpty-Dumpty and the other highly burnished tableau wagons with four-horse hitches, and the illuminated water-spouting float that carried Alice to her Circus Wonder-land. Few were sitting on their hands when after midnight, but 20 minutes was cut from the running time at Thursday's matinee by the elimination of the War Bond speech, which was scheduled for the first night only, and a little tightening here and there."

Also included in the spec were the Toad and Mushroom; Five Graces bandwagon; the Lion and Gladiator; the Lion and Snake tableau wagon; the Swan Boat; and the small Harp and Jesters air calliope wagon.

George Brinton Beal wrote the White Tops review, "Display 8 douses the lights again to spotlight Alice, in the cute person of Marion Morgan, and her 'Wonderful' companion, the Mad Hatter, the Rabbit and Emmett Kelley representing the circus world, Alice announces it is time to 'speak of other things, including cabbages and kings,' which is the case for the entrance of the major spec, Alice in Circus Wonderland in part, at least, characters of Alice in Wonderland fame. It also includes three famous old circus wagons, minus, however, the old sunburst wheels and neatly shod with rubber. In place of the oldtime jester's steam calliope of last season, a modernized one is used. The famous Bell wagon is also missing. The most important of the wagons is the famous Five Graces bandwagon, now carrying a band of imitation monkeys.

"Special music by Deems Taylor, who conducted the number on opening night, is provided. The music is slowly paced and rather on the tinkley side for circus atmosphere."

In 1946 Toyland was the spec. The program listed, "Staged by Robert Ringling, Billy Livingston, costume designer and Robert Barnhart, technical director." Included in the spec were the Toyland Express Train, engine powered by a Caterpillar tractor, Engine, House, Girls, cage, Girls, House, Caboose; Princess Barge, pulled by four horses. Harp and Jesters air calliope, Bell wagon, Pail of Toys, pulled by an elephant hitch; Doll House and Jack In The Box.

Once Upon A Time, The Wedding of Cinderella was the title of the 1947 spec. John North was returned as the control of the circus and he brought back John Murray Anderson and Miles White to produce and design the spec. The choreography was by Esther Junger. The floats were The Wedding Book, in center ring; Slipper; Fairy Godmother; the Bell wagon; pulled by six horses; Hansel and Gretel; Lilliputian on a Jeep; Gulliver; Harp and Jester air calliope, pulled by pulled by two horses; Wizard Of Oz; Aladdin cart; Sleeping Beauty; small Cinderella Carriage; Cinderella's Golden Chariot (payoff) pulled by an elephant and several small carts and litters.

The April 10 New York Times reviewed the performance. It read in part, "For all ages there was the extravaganza, 'The Wedding of Cinderella! Included were dancing girls, dancing elephants, clowns and toy houses.”

Time magazine said, "There is a fine gaudy pageant called Once Upon a Time, in which Sinbad, Gulliver, Aladdin, Don Quixote, Rip Van Winkle, Snow White, Hansel and Gretel walk drive or ride elephant back to Cinderella's wedding. Then 52 girls in brilliant billowing pink, hanging by a wrist in mid-air, do a stylish cancan."

On August 15, 1947 John Murray Anderson signed a contract with the circus. Which called for Anderson's services for eight consecutive weeks, beginning seven weeks prior to the 1948 opening of the circus in New York. He would receive $20,000, payable in $2.000 installments through May 7, 1948. At circus' expense he was to have a stage manager and an assistant dance director.

On October 28,1947 John Ringling North returned to the helm, having bought 51% of the stock in the circus, with the help of a $100,000 loan from Arthur M. Concello. The show was playing Atlanta, Georgia at the time. To make it formal North was elected president at a board meeting in Sarasota on November 15, 1947. Henry North was elected vice-president and Robert Ringing was elected chairman of the board. Pressed to cut expenses North cut the train from 107 cars to 90.

In 1948 the big show featured Twas The Night Before Christmas, described in the program as "The Never-to-be-Forgotten pageant in which Santa Claus brings toy land and the symbols of Christmas to life, love and laughter." The John Murray Anderson, Miles White and Esther Junger team were again the creators. The floats were Toy Circus Calliope; Music Box; Noah's Ark; Jack In The Box; Good Little Girl, in center ring; Jaunting cart; Small covered wagon; the Bell wagon; and the Snow Queen, payoff float.

The New York Times review commented, "Blue lights filled the Garden. There was a blast of music and the great doors at the east end of the arena swung open. Out came the storybook procession. There was Peter Rabbit and his family, followed by that awful Mister McGregor. There were scores of pretty girls dancing along to the tune of Jingle Bells. There was Lousia May Alcott's famous quartette, Beth, Amy, Meg and Jo, strolling in red and white checked gingham gowns. There was Scrooge and Tiny Tim and all the rest. There were elephants with Christmas trees growing on their backs. John Ringling North, president of the circus, had tried to get reindeer to pull Santa Claus' sleigh, but the government wouldn't let them into the country because of the danger of hoof-and-mouth disease.

"But the circus was not stumped. When Santa Claus appeared last night, his sleigh was drawn by eight ponies, and to the head of each pony was affixed a large and satisfying pair of white antlers.

"As the spectacle moved through the haze, snow began to fall. The white flakes drifted down into the arena and settled over the over the moving figures. Some remembered that it was April and that it was really white confetti, but for my money it was snow. A person would be a fool to believe otherwise."

The White Tops review by wordsmith Bill Montague noted, "Twas The Night Before Christmas was programmed, the huge, humorous radiant holiday spectacle. And it fulfilled that word picture. Staged by the well-known John Murray Anderson, it ran about 15 minutes. It is a natural for the youngsters, but will be enjoyed by the oldsters as well. Santa enjoyed by the oldsters as well. Santa Claus was lowered from the dome of the Garden, after which he took part in a sequence in one of the rings. Making up the procession, that slowly wended its way around the hippodrome track, were a number of beautiful floats, adorned with girls. There were mounted men and women, some of the former garbed as Christmas tree ornaments, a group of pony drawn miniature cages, one containing a dog. A mechanical train, the Bell wagon, a giraffe, a pigmy hippo and a giant snowman were part of it.

"The Monte Carlo Aerial Ballet, directed by Barbette, was well done. There were about 40 lovely girls aloft, attired in vivid red and black costumes. The display featured Chrysis De La Grange in a center cloud swing."

Birthdays was the title of the 1949 spec. On November 26, 1948 Arthur Segal, president of Studio Alliance, proposed this cost estimate for the 1949 spec floats: Birthday Card float, $3,500; Theme float, $6,900; Little Miss Muffet float, $6,400; Tulip Time float, $4,800; Gargantua Float, $6,650; Mothers Day float, $3,300; Titania's Bower float, $5,850; Bugs Bunny Hollywood Baby float, $7,800; Jack O'Lantern float, $3,500; Currier and Ives float, $2,500; Giant Cracker float, $3,350 and Payoff float, to include sound and light effects to simulate a rocket ship, $9,500. Total $66,750. Some these were not made. A final 1949 float list included Titania's Bower; Happy Birthday in Tulip Time; Small Swan Sleigh, Small Chariot; Hay Wagon Trampoline; Old Lady In A Shoe; Father's Day/Birthday, on Jeep; Mother's Day/Birthday, on Jeep; the Bell wagon; Good Little Girl, on Jeep; 50th Anniversary Tab wagon; Thanksgiving; three small aluminum cages and the Rocket ship payoff float.

The New York Daily Mirror commented, "North, designer Miles White and John Murray Anderson employ a patriotic motif for the big show this season: red, white and blue. The finale is The Glorious Fourth, dedicated to the people of the United States of America and to all free people of the earth-in the struggle to maintain their way of life against world aggressors. Other gorgeous specs this year are Birthdays, A Musical Horoscope and San Francisco."

The New York Times review commented, "The program aptly noted that Birthdays was a musical horoscope, in which the natal days of all the beloved characters in Mother Goose verse, fairy tails and nursery rhymes are merrily celebrated in fabulous fancy, in rainbow radiance,

opulence and with all hearts high. And so it was as these characters paraded around the hippodrome track. And weaving in and out was Emmett Kelly, the Big Show's sad-faced clown but beaming broadly this time."

John Murray Anderson signed his final contract with the circus on June 14, 1949. His total salary was $20,000.

In 1950 the spec was called When Dreams Come True. It was staged by John Murray Anderson; designed by Miles White; and choreographed by Richard Barstow. This was the first season for Barstow. As usual the planning for the 1950 spec began in 1949. On July 22, 1949 Henry North wrote Miles White, "I wrote Murray Anderson the other day, asking him to have you get us at least rough sketches of next year's floats at the earliest possible moment, hoping that we would receive at least part of them by the time we get to Chicago.

"Today I am in receipt of a wire from Murray stating that you are unable to do anything further until you get the okay from your Union. Please let me know right away what this means. I thought you and John and Murray were set as to the execution of all next year's production numbers.

"Because of uncertain business conditions and marked falling off of our attendance and receipts during the past several weeks, we must conserve our cash to assure the safety factor for continuing operations. The terms of your contract have been approved and our only desired modification of past practices regarding this contract with you is that we are to defer the payments until such a time as we are sure that no catastrophic business decline will catch us with a depleted treasury. In other words, your full payment us assured but we don't want to lay out the actual cash at this time."

The spec was display number six. The 1950 floats were: Sleeping Beauty; Candy Cane; Sea Serpent, on Jeep; Pop Up Dream Book, in center ring; Picture Frame, on Jeep; the Bell wagon; Harp and Jester air calliope, used in Garden dates only and the payoff, Ship with Mermaids.

The New York Daily Mirror review read in part, "The specs this year are When Dreams Come True, a gorgeous fantasy replete with a storybook and comic-strip characters; and Jungle Drums, a colorful safari without the dangers of the tsetse fly or a stray boa constrictor. Its an expedition that can be enjoyed in solid comfort. North has spent a sizable fortune on costumes this year, and designer Miles White has outdone himself They are marked by opulence and taste. The arena color scheme is blue, white and gold, with green tanbark."

The New York Tribune review stated, "Ringling Brothers and Barnum & Bailey opened last night in Madison Square Garden with a plunge into the psyche of childhood. Featuring a mighty spectacle called When Dreams Come True, the circus presented such things as a forest of ten-foot candy canes, massed amiable sea serpents with pretty girls riding on their heads, a friendly dragon twenty feet long and a cat taking a cat nap. Famous cartoon characters came to life in this dream parade and Wynken, Blynken and Nod were there dosing away in big wooden shoes. For a while the procession took on a historical aspect, with George Washington, Abraham Lincoln, Thomas Jefferson and Theodore Roosevelt riding in quick succession. The rear of the procession was brought up in a dreamboat with silvery sails and midget playing a harp in the bowsprit. For those unfamiliar with dream boats it is well to mention that the craft was pulled by three elephants."

Bill Montague's White Tops review noted, "Probably the best of the years that have present type of presentations have used, is the super-spectacle When Dreams Come True. Something that will please them from nine to ninety and two to toothless. In it there are such things as 10-foot candy canes; a friendly 20-foot long; Jiggs and Magge of cartoon fame, and a historical angle with George Washington, Abraham Lincoln, Thomas Jefferson and Theodore Roosevelt. riding by.

"Seville, with sixty talented senoritas aloft. And a new twist they played marimbas while up there. This featured Pinito Del Ora.

"Old Vienna, a horsey number, with many old time rigs; a congress of famed dressage and high school riders and featured Luciana and Freidel; Claud Valois and Cilly Feindt.

"Jungle Drums a standout finis featuring the elephant herd."

Robert Sabia, a student of Ringling specs, when asked about his rating of various years commented, "I am inclined to favor the 1950 When Dream Come True, particularly when coupled with the closer Jungle Drums. The two specs came from different parts of the spectrum but somehow seemed to me to encompass the entire performance. The payoff float of the sailing ship was original in all regards and the costuming was bright, cheerful and elaborate. I rank the 1955 spec and overall costuming to follow closely behind with perhaps the colors being the best ever presented. Of Course, 1941's Old King Cole was just as great but has to pay the price of being a spec unto itself.

"My least favorite spec (and indeed overall performance) was 1948's Twas the Night before Christmas. My feeling was 'Why bother! I could see nothing particularly interesting about the entire presentation. It certainly ranks below 1947 in terms of concept, which wasn't such a high standard, and totally lacked the imagination and foresightedness of others that followed."

Circus Serenade was the name of the 1951 spec, again staged and designed by John Murray Anderson and Miles White. The spec order was: Emmett Kelly & Otto Griebling around the track (with Harold Ronk-Garden only).

Opening Section:
Musical Notes riders (horses 3 brown, 2 dpl., 2 white, 1 black) in rings 1 & 3. Eight men.
Circus Broadcasting Studio (jeep) with Albert White as the Prima Donna
Clown Giraffe (w/antenna) Two men.
Record Changer (clown) One man.
Lou Jacobs (with drum & concertina).
Clown (with saxophone).
Sing A Long Clowns (with Irv Romig) Three men.
Clown (with accordion)
Record Changer (clown)
Drum Major (Jimmy Armstrong)
Calliope (2 white horses) with Felix Adler as the Mastero (includes Rose Romig & Hilda Alzana) (driver is in red) Four women.
Prince-Herald (brown horse) One man.
Four Seasons (with harps)
Spring- Summer-Autumn-Winter. Four women.

Disney Section:
Bambi (burro) with attendant (red and silver).
Dumbo (baby African elephant) with attendant (red & silver)
Three Little Pigs. Three men.
Mickey Mouse
Donald Duck
Pluto
Alice (Dita Chaludi)
March Hare
Mad Hatter

Turn Of The Century Section:
Clown on bicycle (with dummy).
Small Buggy (Palimino horse) 2 clowns - 1 as a female with parasol.
Midget Car - midget clown driver and Daisy Doll.
Dancing Girls - 4 with large hoop skirts & fans.
Moonlight Melodies float (2 white horses), (Emma Castro) as Goddess (driver is in purple).
Dancing Girls - 3 with large hoop skirts & fans (includes Elsie Jung). Six women.

Nursery Rhymes Section:
Giant Mother Goose (clown)
Three Blind Mice (with cups). Three men.
Old Mother Hubbard & dog (Buzzie Potts).

Stephan Foster Section:
Barbershop Quartette float on Jeep (with Paul Jung & clown). Three men.
Sweet Adeline and Beau (Ernie Burch with fan & Prince Paul with banjo).
Barbershop Quartette - 4 clowns walking 4 abreast.
Dancing Girls - 1 w/hoop skirt & 1 as cowboy w/banjo
Oh Susanna Covered Wagon float (2 black ponies) as above except girl holds rifle (Mary Jane Miller & Rusty Parent).
Dancing Girls - 2 with hoop skirts & 2 as cowboys with banjos.
Old Hillbilly Clown (with jug).
Mammy & Pappy Yokum (Rose & Pete Hanlon).
Daisy Mae & Lil Abner (Peggy Day Porter & ?)

South American Section:
Gauchos - riders 4 abreast (horses2 Palimino, 1 dapple & 1 brown).
4 Bullfighters -single file.
CarriagE (2 white horses) Senorita & Bullfighter (Pinito del Oro and Juan de la Fuentes husband) (driver is in red).
Male Dancer (with feathered staff & birds) (Duane Thorpe).
South American Fireflies (includes Dolly Copeland). Twelve girls.
Senorita rider (brown horse) (Friedal Pastuer).

Circus Section:
Jester Sword Swallower (clown).
Siamese Twins - Clown faces. Two women.
Fat Lady Clown. One man.
Harp and Jesters Air Calliope (2 white horses) in Garden dates only (driver is in pink),
Stilt Walker Clown (Harry Dalbeanie).
English Clown with 2 dogs as miniature elephants (Charlie Bell).
Dance Hall Clown.
Dance Hall Midgets (Tiny and Gracie Doll).

Americana Section:
Cowboys-riders (horses-white, brown, Palomino, dpl. gray) - Alberto Zoppe on brown.
American Beauties float (2 white horses) (Delores Murphy on left, Lucy Chaludi on right. Driver is in green.
Cowboys - riders (horses, 2 Palominos, black, brown). Four men.

Christmas Section:
Christmas Trees & Gifts (green & burgundy) (with Pat Warner & Gena Moroski).
Princess rider w/wings (brown horse).
Christmas Trees & Gifts (red & green). Two men and two women.
Princess - rider with wings (brown horse).
Christmas Trees and Gifts (blue and red). Two men and two women.
Christmas Queen in wreath (elephant) (with Arky Scott & ?).
Bell Wagon (2 elephants) with clown bell ringer & brakeman (aqua) plus 2 elephant handlers (aqua). Four men.
Elephant Princesses (3 elephants with winged blankets) with Jeannie Sleeter on 2nd elephant and Jean Davis on 3rd elephant) plus 3 elephant handlers (aqua).
Christmas Queen Anne Mace as Queen and Cucciola as midget Santa plus 2 tree holders (red & lilac) & brakeman (aqua). Four men and one woman.

The floats were: Payoff float #1; Payoff float #2; Broadcast float #3; Barber Shop Quartette float #4; Calliope float #5; American Beauties float #6; Moon float #7; and Moon float #8.

Studio Alliance, Inc. of New York again built the floats for the 1951 spec. In an October 24, 1950 letter to Henry Ringling North the builders' Arthur Segal provided the estimated cost for the new floats. Broadcasting, mounted on Jeep, $3,700; Barbershop, on Jeep, $3,700; Calliope, $4,500; American Beauties, $8,600; Moon, $9,500; and Payoff, $9,500. Total $42,000. The letter added, "Please note that we are not planning to use any part of the existing floats as we did last year (except for the Jeep basic platforms), which, of course, accounts for the increase over last year's estimate."

On November 2, 1950 Henry North wrote to Studio Alliance saying, "I think Miles' (White) sketches are terrific.

"The total price isn't too far out of line from the budget figure I have set for the Studio Alliance cost."

The New York Daily Mirror review mentioned, "The spec this year is Circus Serenade, a delightful and opulent parade of cartoon characters and storybook figures to beloved American folk music.” "The color scheme is blue and gold, with purple tanbark. The costumes by Miles White are stunning, and the staging by John Murray Anderson is expert."

Bill Montague's White Tops review of the show noted, "Circus Serenade is the new musical super-spectacle based on popular songs over a long period of the country's history. There is fantasy, beauty, humor, unprecedented splendor, flamboyant color and brilliant accouterments. As the spec nears the close the Garden darkened and there is a heavy fall of artificial snow. They then sing White Christmas as a closing number. And Emmett Kelly to keep warm in this winter atmosphere builds a small fire in front of the center ring and starts to warm his hands.

"Picnic in the Park, an extraordinary equestrian fete, which features in the rings three matched groups of unbridled liberty horses and on the hippodrome track the world renowned Haute Elcole and dressage riding stars-Franz Acked, also Luciaba and Freidel. The theme song is A Picnic in the Park.

"Luawana, an enchanting new Hawaiian hula, featuring Pinito del Ora, beautiful swinging trapeze star, with a ballet of 60 lovelies above, who finish their routines playing on xylophones. The ballet was trained and directed by Antoinette Concello.

"Popcorn and Lemonade, with a theme song of the same title. It is described this way in the program: breath-taking circus day jamboree, animating in never-to-be forgotten excitement and beauty, the gram finale of the 1951 edition."

John Murray Anderson was not a part of the Ringling-Barnum circus in 1952. The Good Old Times spec was staged by Richard Barstow. His sister Edith Barstow joined the show to do the choreography. Miles White continued as designer. The spec was moved to display number three. It was described in the program as "A nostalgic musical treat, lavishly garnished with unprecedented humor, fantasy and splendor for children of both sexes an all ages from toddlers to venerables." The 1952 floats were: the Bell wagon, used only early in the season; Cleopatra and Mark Anthony; Pocahontas and John Smith; Trojan Horse, on Jeep; Helen of Troy; Fountain of Youth; Wine Glass, payoff float; two carriages; a small Cannon; small Chariot and small Midget Car.

Bill Montague wrote of the 1952 performance in the White Tops, "There are four new musical spectacles this season-The Good Old Times, Butterfly Lullaby, Madri Gras and Gold Dollar Moon. The music is by John Ringling North, lyrics By E. Ray Goetz, and the choreography by Edith Barstow. The Good Old Times is the show's new super-spectacle for 1952. The 5-star display has everything-and we mean just that-and tops any spec of past years and will be one that will click strong with the patrons. There is fantasy, beauty, humorous appeal, unprecedented splendor, jangle of excitement, brilliant accoutrements, and it was elevating in effect and breathtaking. In it appear figures of Cleopatra and Mark Anthony, Henry the Eighth and his wives, Lady Godiva, Helen of Troy, King Arthur's Knights, Robin Hood and his Merrie Men, Christopher Columbus and his crew, Ponce de Leon, Men from Mars, to mention a few. It was decorated with scores of attractive girls attired in rich and colorful costumes. There were some giant figures of swans and lobsters riding on elephants. The pro cession proceeded around the arena on a carpet of green sawdust. As it reached its peak with music and song at a loud tempo, soap bubbles began floating down from aloft. The bubbles were made electrically operated machines, 18 were located near the ceiling, and each pumped out about 10,000 bubbles a minute, which filled the darkened Garden from ceiling to sawdust. It was a smash finish, which had the Garden cheering. Featured song-Some Day, Today Will Be the Good Old Times.

"The Butterfly Lullaby starring Pinito Del Oro, Spain's daring queen of the swinging trapeze, and with an exquisite ballet of lovely lassies aloft, mostly on swinging ladders. Antoinette Concello, the circus' aerial director, trained the ballerinas. Featured song: Butterfly Lullaby.

"Mardi Gras was the Big Show's salute from saddle to King Rex and his Merry Court. It was a surpassingly colorful cavalcade in the gay mood of the Crescent City's famous festive event, presenting the most outstanding display of super-horsemanship in amusement annals, featuring Robert de Vasconcellos, Visconde da Barca, the greatest dressage rider on earth. Appearing also in this superb exhibition were Franz Ackeri, internationally master of dressage; Lucinda and Freidel, stellar dressage equestriennes; and a congress of other famous dressage and high school riders, beautiful belles, blooded horses, tally-hos, coaches-and-fours and other smart equipages. Featured song: New Orleans, the Mardi Gras and You.

"Gold Dollar Moon was the grand finale. Featured song: Gold Dollar Moon (kick those clouds away). An especially pleasing feature was when Merle Evans and his band marched in, garbed in bright uniforms, playing old time tunes such as Wait Until the Sun Shines Nellie.

All the performing personnel took part, which brought a mass of color to the arena. Center ringed was Daredevil Connely, The Man in the Moon.' It was a rousing, breathtaking and sensationally spectacular finale to the 1952 edition of The Greatest Show on Earth."

Miles White designed the costumes for the Greatest Show on Earth movie in 1952 and received an Oscar nomination for this work.

The same Barstow-White production team produced the 1953 spec Candy Land. The floats were: Tally-Ho with Buffalo Bill and Annie Oakley; Show Boat; Candyland; Little Red Schoolhouse, pulled small outhouse with Lou Jacobs; Memory Ship, on Jeep; Wizard of Oz; small metal cage and the Unicorn, as payoff.

The White Tops review by Bill Montague stated, "As in the last few years there are four new musical spectacles -Candy Land, new super spectacle of 1953. In it were elephants, dressed as swans, and there were others that represented famous pirates such as Captain Kidd and Long John Silver. There was a Mississippi showboat pulled by horses, and there were characters from fiction including Huck Finn and the Tin Woodman. Song-Gone Are The Days. Minnehaha, the aerial spec, features the beautiful star of the swinging trapeze - Pinito Del Oro, whose daring routines had the close attention of the customers.

"Derby Day Honeymoon is the horsy spec, done in the gay mood of Kentucky's famous annual racing classic. It featured Robert de Vasconcellos, the greatest dressage rider on earth, also, Marion Seifert, stellar dressage equestrienne, and Erike de Vasconcellos, renowned mistress of dressage. In this spec there are beautiful belles, blooded horses and smart equipages, including tally-hos and coaches-and-fours.

"Americana, U. S. A., was the sawdust treat of the evening bringing to a close the 1953 Big One performance. Merle Evans and his band marched in attired in brightly colored uniforms. Three platforms of 10 girls each were hoisted up about 30 feet and then cover cloths were dropped revealing large American flags, to add to the picture about 12 elephants formed the long mount."

In 1954 the Barstows and Miles White produced a spec titled Dreamland. The train loading list to New York in 1954 listed the following spec floats: Merry-Go-Round float, Twelve girls float, Frog float (on Jeep), Tulip float, Elevator float, Swing float; Old King Cole; Sleeping Beauty; Scheherazade; and Calliope on Jeep. The spec was moved to near the middle of the performance as display No. 15. Dreamland was described in the program as "A stupendous new musical super-spectacle blending Arabian nights with fairyland in a fabulous fantasy of rainbow radiance."

Bill Montague's White Tops review commented, "The second of the production numbers - Display 15 which was followed by a short intermission-was titled Dreamland. It included characters from the land of make-believe, such as Humpty Dumpty, Cinderella, Mother Hubbard, Little Bo Peep, Little Red Riding Hood. Floats, horses, elephants were included in this number along with many brightly costumed performers. As a climax machines in the top reaches of the Garden showered thousands of tiny bubbles down on this palpitating pageant of pulchritude, pantomime. Audience reaction was strong.

"Third of the production numbers Display 22 was Fiesta, the horsy number, presented in Mexican atmosphere, a riot of color and gaiety. Guadalupe Partida and his group of wildly riding Charro rope spinners, while standing on their horses, were reminiscent of the Wild West show of bygone days.

"Fourth and closing Display 26 was the Circus Climax Colossal titled U.N. It was the best finale in some years. There were huge globes raised over the end rings with the flags of the United Nations streaming from them. One of the highlights was a group of Drummer Girls, costumed in blue and white, and led by a majorette, a cute package, who gave an excellent exhibition of twirling. A three-part curtain depicted President Eisenhower as a West Point cadet, 5-star general, and as president. It was raised above the center ring. Merle Evans and his band leave their stand and play in the center ring. A group of elephants, with a colorful garbed girl on each, come in on the track, and at the climax of the number they form the long mount. At the conclusion the band marched to one end of the arena where in line form they played while the vast throng faded into the land of reality New York City - on a chill March night."

On November 28, 1954 Max Weldy made this proposed list of people required for the 1955 spec.:

Section A New Year's Eve
8 Men, mounted Heralds an Chessmen, each carrying a hand bell.
4 Baby Elephants surrounding.
I Little Emily Elephant whose howdah is a Cradle carrying the New Year, represented by a Midget as a Baby.
5 Elephant men.
1 Man Midget as the New Year in Little Smily's Howdah.
1 Man Clown (Albert White ?) as the Nurse for the New Year.
1 man as Father Time.
2 Man Clowns who represent Night and Day.
1 Girl representing Spring.
1 Girl representing Summer.
1 Girl representing Fall.
I Girl representing Winter.
1 Carriage to represent a Water Wagon.
1 Man Driver for Carriage, dressed as a Volstead Prohibitionist.
2 Men Clowns as Drunks, riding Water Wagon Carriage
1 Man as the Devil, with a Pitchfork.

Section B St. Valentine's Day
2 Men carrying large prop heart.
8 Girl Dancers as Paper Valentines (Pink like folded paper).
Paper Valentine Float.
1 Man driver for Float.
3 Girls on Float.

Section C Saint Patrick's Day
1 Man Clown (Gene Lewis) as Irish Drum Majorette.
4 Men Clowns. (small ones) wearing inflated rubber foundations and looking like Irish Cops.
1 Boy. Boy and Girl both on Jaunting Cart.
1 Man Leader for Jaunting Cart.
8 Girl Dancers as Irish Fairy Girls. Each carries a mechanical sparkler device.
4 Men Midgets, representing Leprechauns in Toadstools.

Section D April Fool's Day
2 Girls, mounted riding side-saddle.
2 Horses as Centaurs.
2 Men leaders for Centaur Horses.
1 Man as King Jester.
4 Men as Monkeys, bearing April fool Canopy for King Jester.
1 Canopy for King Jester.
6 Men in Dragon Covering.
1 Man Clown as a Knight.
1 Man Operating, Prop Flying Saucer built on small motor car.
1 Prop Flying Saucer.
4 Men Tumblers as flying Saucer
Men from another Plant.
1 Man Clown as a Dowager who is chased by Flying Saucer.

Section E Easter
8 Girl Dancers Easter Lilies.
Easter Bunny Float.
1 Man Driver for Float.
2 Horses dressed as Rooster pulling Float.
2 Girls (small ones) in Easter Eggs on float.
1 Man as Mr. Pig.
1 Man as Mrs. Pig.
1 Man as Mr. Cat.
1 Man as Mrs. Cat.
1 Man as Mr. Bull.
1 Man as Mrs. Cow.
1 Man as Mr. Rooster.
1 Man as Mrs. Hen.
3 Men Midgets, as Baby Chicks.

Section F Fourth of July:
3 men (one should be a boy) as the painting
The Spirit of '76.
1 Man Mounted as George Washington (Mask).
8 Girl Dancers (Routine of carrying and Whirling Batons, (Tights Colonial Costumes).
6 Girls as Betsy Ross Girls, carrying large American Flag. (Replica of original flags shoving only 13 states.)

Section G Halloween:
1 Man Clown as a Witch, riding a Pogo Stick, disguised to look like a broom.
2 Men, Stilt Men, as Pumpkin Heads.
1 Man Midget as Pumpkin head.
Halloween Float, on Jeep.
1 Driver for float. No costume.
2 Girls inside steaming Cauldron on float (Tights, good figures). Followed by the grotesque Charles Addams family, all of whom carry dishes, napkins, knives and forks.
1 Girl as the Wife.
1 Man as the Husband.
1 Man as the Butler.
1 Man as the Grandmother.
2 Men Midgets as the Children, New Buick Automobile
2 Men as Ghosts riding in back. No costumes.

Section H Thanksgiving:
Cornucopia Float
2 Horses as Turkeys, Pulling float.
1 Man Driver for Float.
4 Girls on Float, representing various Fruits.
4 Men Dancers as Red Indians (Masks).
8 Girl Dancers as Pilgrims. They dance with the Indians, a Minuet. (Long hoop skirts).
1 Man Clown as pilgrim who is chased by Man as a Turkey, carrying a Musket.

Section I Christmas:
6 Men as Snow Men, each pulling lighted Christmas Trees mounted on 6 sleds.
Santa Claus Jeep, 1 man driver for Jeep. No costume, he is concealed.
6 Ponies dressed as Reindeer.
8 Men Leaders for Ponies.
1 Man clown as Santa Claus. (A Star Clown)
1 Anne Mace as Christmas Tree Ornament Girl on Sleigh
The Jeep is followed by toys and presents parade which merges into the payoff section.

Section J Birthdays:
8 Men as Gift Boxes, which later open up, revealing toys inside. Four men open the boxes on each side of the track.
2 Mommy Doll Toys in Boxes.
2 Pretty Doll Toys in Boxes.
2 Chinese Doll Toys in Boxes.
2 Baby Elephants completely dressed in gray plush and with a winding key on their backs like toy stuffed elephants.
2 Men Elephant leaders.
1 Man Clown (Charlie Bell) with dogs dressed like the toy elephants above.
6 Girl Acrobatic Dancers (Pink & White Tights).
1 Toy Music Box Float - Payoff
1 Banner spelling Happy Birthday, emerging from Payoff Float.
2 Girls as Traveling Ladies, walking with Elephant Train.
5 Elephant Men.
4 Men Holders for the Surprise Banner from float.
1 Lead-off Engine Elephant.
1 First Train Elephant.
1 Second Train Elephant.
2 Third Train Elephants (Pulling Payoff Float).
1 Emmett Kelly, carrying Birthday Cake.

Total number of men in spec 130. Total number of women in spec 74. (Of the total 204, 10 are midgets and 17 are clowns.)

In 1955 the 85th edition of the Greatest Show on Earth presented Holidays, a celestial calendar cavalcade. The spectacle was directed, staged and choreographed by Richard Barstow. Barstow and his sister Edith had done the choreography for the Judy Garland's A Star Is Born and The Greatest Show on Earth film. Barstow was brought to the circus by John Murray Anderson in 1949. He took over the staging and directing of the performance in 1952. The costumes and floats were designed by Miles White. The costumes were made by Max Weldy in his Sarasota headquarters. The floats were: Thanksgiving; automobile convertible; Water Wagon; Halloween, on Jeep; Christmas Sleigh, on Jeep; Easter Rabbit; Jaunting Cart (St. Patrick's Day); Valentine; Flying Saucer; several small sleights and Birthday, payoff float.

Presented as display No. 15 the parade was divided into two songs Three Cheers for the Holidays and Birthdays. John North wrote the music and the lyrics were by Irving Caesar. It was staged by Richard Barstow and designed by Miles White. White had come to the circus in 1941 as one of the many designers who worked for Norman Bel Geddes. At age 27 White had already designed costumes for two Broadway shows as well as nightclub reviews at New York's Copacabana. He was first hired by Bel Geddes to design costumes for Sonja Henie's It Happened on Ice at the Center Theater. Geddes received the credit, however White was the actual designer. When Bel Geddes went to work for the circus he brought White along, paying him his usual salary of $75 a week.

North was aware that White was the actual costume designer. In 1942 White's assignment was expanded to designing costumes for the performers as well. He made his first trip to Sarasota with the Bel Geddes staff to take part in the preparations for the 1942 performance. By then John Murray Anderson had joined the Bel Geddes staff.

The circus in 1942 featured The Elephant Ballet. George Ballanchine was hired to do the choreography. White became involved in the elephant production. White continued with the big show through the 1955 season. By then Max Weldy had become a major factor in the circus productions. Unbeknown to White, Weldy ad suggested that his friend Marcel Vertes be hired as the costume designer. North, at the time consumed with saving money, went along. Miles White returned to the show in 1957 to design the circus. Using a United Scenic Artists (union) contract dated September 4, 1956 Ringling-Barnum agreed to pay White $5,000. He was then out of the picture after a remarkable run with the show from 1941 to 1957. He died in New York City on February 17, 2000 at age 85.

Bill Montague's White Tops review of 1955 show noted, "The second production number was titled Holidays - with two songs featured. This is a bewildering kaleidoscope of colorful lavishness dedicated to the festive Days of the American calendar - including floats depicting Halloween, Thanksgiving, Christmas, New Years and Easter. It all added up to a very satisfying number.

"The third of the production numbers had the title of Mama's In The Park, which featured the largest herd of performing elephants ever assembled and which includes about 20 baby elephants. Number closed with the elephant long mount. Personnel in this number were attired in costumes of the period when there were band concerts.

"The grand finale of the show was the production number-Rainbow Round The World, featuring a song of the same title. Merle Evans and his band, gaily costumed, marched to the center ring to play during the number. Directly in front of this ring was the agile Billie Mahoney who displayed real talent as a baton twirler. Three large rainbow colored balls were raised above the rings and below these girls executed various iron jaw routines. It was probably the most colorful finale of all times, it really was as beautiful as a rainbow."

The final year of the Big Show under canvas saw a number of production changes. For unknown reasons Miles White was not hired to design the production numbers and spec floats for the 1956 show. White was replaced by the French Impressionist Marcel Vertes through the efforts of Max Weldy An agreement using a United Scenic Artists union contract form in part stated: "Agreement made this 9th day of June, 1955, between Marcel Vertes and Ringling Bros. & Barnum and Bailey

"1. The manager hereby agrees to and does engage the services of the designer, and the designer hereby accepts the engagements to design and to do the work hereafter specified for the production by the show for 1956, consisting of props, floats and decorations to be produced by the show and to be opened on or before the 1st day of April, 1956.

"II. The designer agrees to design the said production and to tender the following services in connection therewith: To furnish all designs for props, floats and decorations for all presentations of the circus.

"(a) To complete either a working model of the settings to scale or to complete sketches or sketch models of the settings and necessary working drawings for construction carpenter.

“ (b) To supply the contracting painter with color schemes or color sketches sufficient for contracting painter.

"(c) To design or approve properties required for the production, including draperies and furniture.

"(d) To plot the necessary lighting, and to specify lighting equipment.

“(e) To supply specifications for the construction carpenter, to supervise the building and painting of sets and the making of properties and to solicit estimates for the same for the show from contractors satisfactory to the show such estimates to be submitted to the show at a specific time with firms submitting said estimates present when same are opened.

"(f) To attend first out-of-town and New York openings of the production and the dress rehearsals of the same, and to conduct the scenic lighting rehearsals thereof

"(g) To render same services for the show if the production is reproduced for road companies by the show; or if road rights of said productions are sold or licensed to others.

"(h) To supply blueprints for the construction of all floats.

"III. The show agrees: To pay the designer the sum of six thousand dollars in full payment for the services to be rendered.

"Not less than one-third (1-3) thereof, to wit, the sum of two thousand dollars upon the execution of this agreement, one-third (1-3) towit, the sum of two thousand dollars on the 15th day of July, 1955, which payment shall be made only upon completion of all sketches and designs, the designer hereby agreeing to furnish all sketches, one third (1-3), to-wit, the sum of two thousand dollars on the fifth office day after the first day after the first public performance, either in the Metropolitan area or elsewhere."

Vertes was late in providing sketches, but the union still wanted a second payment.

In a August 11, 1955 letter to circus attorney Richard Smith, Michael B. Burke noted: "I understand that you received a phone call from Rudy Karnolt of United Scenic Artists, giving us one week to settle his account.

"As you probably know, the circus signed a contract with Marcel Verte to design the floats and costumes for next years performance.

"We agreed to pay Mr. Vertes a total of $18,000 for his services. The first installment of $6,000 was due and paid at the time the contract was signed. The contract calls for our paying a second installment of $6,000 by July 15, but it provides that payment should be made only upon completion of all sketches and designs.

"We have not as yet seen these sketches and designs but expect to in the next several days. You can advise Mr. Kar-nolt when we have seen the sketches we shall send along the next installment of $6,000 according to the terms of our agreement."

Like all the other "artists" Vertes' contract assured that he would be given credit at the head of the program of the production directly under the Director. The demands for billing by Vertes caused a problem with Richard Barstow as to the size of type listing them in the program.

The 1956 spec Say It with Flowers was staged by Richard and Edith Barstow and was designed by Marcel Vertes. Izzy Cervone replaced bandleader Merle Evans. Robert Dover was ringmaster. Frank Loesser composed the songs. The floats in the spec were Wedding of the Wheat; Swing; Tulips and Bicycles; Twelve Girls Carriage; Amish Carriage; Scherazade; Old King Cole; Merry-Go-Round; Sleeping Beauty; and the payoff Frogs float on a Jeep.

Bill Montague in his White Tops review of the 1956 performance noted, "The magnificent super spectacle - Say It With Flowers-came just before intermission. There were several floats including one of tulips. A limited number of elephants appeared in spec parades, but at no time was the 52 carried this season out together, and there was no trained elephant act.

"A Soko finale for the performance was titled Hoop-Dee-Do a riot of color. The band attired in gay uniforms marched to the center ring, At one point a featured majorette, Billie Mahoney, was astride an elephant twirling two batons. Colorful garbed girls occupied swings set up in each ring." Other production numbers designed by Vertes were the big elephant number Ringling Rock n' Roll and the finale Hoop Dee Doo. A Veretes painting adorned the cover of the 1956 program.

A special thanks to Fred Dahlinger, the Circus World Museum and Dom Yodice for extensive information and illustrations. Other contributors were the Ringling Museum of Art, Richard J. Reynolds III, Ernest Albrecht and Robert Sabia.

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