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Reminiscences of a Showman

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There is an almost distinctive department of circus life and business of which the public know but little, yet it is of great consequence in the operation of all big shows.

This side line, a by-product, as it were, constitutes what is known in the venacular as "the privileges," covering all such features as the side shows, refreshment stands, concert after the big show, the sale of balloons, flags and other trinkets, which form no mean part of the gross receipts on circus day.

These "privileges," while owned and controlled by the proprietors, are usually handled by experts in that line on a percentage basis, which probably accounts for the energetic manner in which the side show speeler, the ubiquitous candy butcher or lemonade dispenser announces his wares.

The manager of the privileges is generally a man of vast experience and keen perception. He has, likely, been selected because of his reputation as a hustler or thorough knowledge of his calling, and some of our best amusement managers of recent years all graduated from the circus school of privilege men. B. F. Keith, Eddie Albee, Ed. C. Kohl, George Middleton, Sam Scribner, J. L. Hutchinson, John B. Doris, Frank A. Robbins, W. D. Hager, Charles Drew, Wood A. Campbell, George Arlington and numerous others, equally worthy, took their initiative as amusement purveyors in this line of activity only to become most proficient managers and men of means.

It is also a matter of fact that nearly every one of them, taking advantage of his experience with the public, and realizing the demand for good shows at low prices, left the circus calling to establish dime museums, to make use of their sideshow freaks or concert attractions in the winter season, and finding their experiments so profitable, proceeded to increase their holdings, build new, more expensive theaters, and add to their attractions, until continuous vaudeville became the popular vogue.

There is another line of active and essential men connected with the circus management seldom seen by the public, whose welfare they are always consulting, and that is the secret service, or sometimes called the "fixers," or "legal adjusters." The men who flit here and there from daybreak until the last wagon leaves the lot at night, all the while with an eagle eye, looking after the interests of the management and safety of the public.

William D. Hager

As an example of this efficiency I will take my long-time friend, William D. Hager, who filled such a position with the Barnum & Bailey up to the time of his death. Hager in his time held many positions of trust, besides being a proprietor and manager on his own account.

Mr. Hager was a genius in his way, being well informed on may subjects, and aside from his interest in the show business, he was a breeder of fast horses and fancy stock, and altogether an all around sport, known to everybody. During the circus seasons he not only managed the privileges with his partners, Messrs. Henshaw and Campbell, but acted as the legal adjuster for the show.

His duties in this respect were, first, to call on the city officials in town with one of our secret service or Pinkerton men to adjust the licenses for exhibition, interview the mayor, chief of police and other prominent officers in order to enlist their services so they could all work in perfect harmony throughout the day and be on the alert for any light-fingered gentry or disturbers of the peace that might put In an appearance on the streets or at the show grounds.

The demand for Mr. Hager during the day, and long into the night was very frequent and it became sort of by-word with Mr. Bailey, who was always at the show grounds, usually at the front door, to laughingly call out, "Where is Hager?" This phrase was caught up by everyone connected with the show and in case of emergency it was used to such an extent I was constrained to indict a few lines to him, which were published in one of our annual route books, much to the pleasure of Mr. Bailey, who would quote one of the stanzas whenever he wanted to put the laugh on Hager. As these rhymes seem to cover the diversified duties of that gentleman I will quote them in full.

WHERE IS HAGER?
"Where is that man Hager?"
      Is a question often asked;
And in the hurry of the moment
      He's a fellow often passed.

Where is Hager?" is the riddle,
      The riddle hard to guess;
Perhaps he's mixing up the “lemo,”
      Perhaps he's working up the "press."

He may be at the Side Show,
      Or somewheres in the "Big Top,"

Or else he's in the Annex office,
      A-looking after "Pop.”

He might be taking tickets,
      If nowhere else he's found; And then, again, he's "uptown,"
      Or somewheres on the ground."

It’s easy enough to find him,
      A-putting in his licks,
But he may be "in the other town"
      A "squaring up the kicks."

He might be playing billiards,
      Of which he is very fond,
Or else he's looking up a "solid mark"
      To go upon a "bond."

Perhaps he's helping "seat the people,"
      Or engaged some otherwise,
Although I think you'll find him
      A "rounding up the guys."

All of which goes to demonstrate that the legal adjuster, occasional press agent, "fixer,"' side show orator or bondsman with a show is no sinecure.

Among those who have distinguished themselves in this line of work I may also mention Charles Andress, who at one time ran a circus of his own, and was an illusionist and entertainer of considerable renown. In later years he became connected with the Ringling Brothers, and I am quite sure that he was the first man to adopt the title of legal adjuster in order to overcome the objectionable use of "fixer" or "squarer," as these positions were designated by the fraternity.

Mr. Andress came over to the Barnum & Bailey show in this capacity at my instigation, where he remained for a number of years, and in addition to his regular line of work, made a pronounced hit by his announcement of the concert, while mounted on the back of an elephant, which enabled him to hold the undivided attention of the audience from his lofty and rather novel pedestal.

In addition to his many duties and accomplishments, Mr. Andress is an expert photographer, press agent, publisher and garner of the good things of this life, even to the cultivation of large farms and ranches in the West. It is to him that I am largely indebted for many bits of valuable information, as well, as rare photographs of professional people that could not be otherwise obtained. His numerous circus annuals and route books also contain volumes of valuable data, as they are always compiled with care and unlimited attention to detail.

Mr. Charles W. Thompson is also one of the most famous adjusters in the business. He is now connected with the Ringling Brothers and has filled positions as a manager of privileges, general assistant and most useful man in all departments. He thoroughly understands all legal matters and has a wide acquaintance with city officials everywhere, as he has traveled with nearly all the different shows, that have been in existence for the last thirty years. He leaves a large coterie of friends everywhere, who welcome him on his return, and there is scarcely any complication with which he is not familiar.

Mr. George Arlington, who has acquired a great reputation in the above lines of work, is in all probability the best informed many as to “freaks” and attractions for the side show or other privileges, and was for years in absolute charge of these features for Mr. J. A. Bailey. He is at this writing general manager for the 101 Ranch, where he continues to exercise his knowledge in connection with all departments. There is scarcely anything in the line of human prodigies that have not come under his management, while his experience in handling these freaks of nature or conducting the business end of an enterprise of any character is unexampled. He has made a particular study of everything pertaining to the privileges of a circus.

When it is taken into consideration that these privileges or by-products, often represent the net profits of a circus season, it will be readily understood how necessary it is to have experienced men to handle them.

I have known shows to be organized with the money advanced by privilege men, and I have also known seasons that would have been unprofitable except for the income from these sources, as the receipts at the main entrance would not cover the actual expenses of operation, if all the privileges were to be ignored. Therefore, it is for this reason the very brightest and best men are selected to handle this department, which is really the business end of the show, having but little part to play in connection with the performance which the public pays to see and is the prime feature to attract their attention and establish the reputation of the show.

Lightning Ticket Sellers.

There is another class of men who figure conspicuously in the business end of the circus game of whom the general public know but little. They are the treasurers, ticket sellers, the manipulators of the cash and card boards, so necessary to the financial success of the shows with which they travel.

Observant Patrons have often stood in front of the ticket wagon, or box office at the circus and viewed with amazement the rapid manner in which the admission tickets were distributed to the crowds and the cash disappears over the counter or through the window

If one were to get behind the scene, so to speak, he would see the dexterous ticket seller grab a package of tickets from the rack or pigeon-hole over his head or at his side, where they are arranged in rows, each box or compartment containing exactly 100 tickets and no more, so the treasurer may know just how many tickets he starts with, and at a glance practically "count the house" as he proceeds.

With one hand he deftly slips off just as many whole tickets as may be asked for, and with the other hand he picks up the half-priced or children's tickets and throws them out with the change in the twinkle of an eye. The money taken in is carelessly thrown back in the wagon at his feet, on the floor, anywhere, all around him, until he literally wallows in money, when business is good, and no attempt is made to straighten it up until the rush is over. Then expert accountants count the cash and make it up in neat packages of $100 each for bills and in smaller denominations for silver, with the initials of the accountant on each package for identification or correction in case of any error, which is rare.

After the performance commences the tickets are counted and verified by those remaining unsold, replaced in the little pigeon holes, and if there are any missing, as there may be, it is evident that some were purchased for the next performance or held out by speculators to be resold at an advance price if the crush happens to come when the doors open for the next show.

There has always been more or less rivalry among ticket sellers, the same as among experts in other callings, such as stenographers, type-writers, mathematicians, surgeons and other high arts or professions. The man who could sell tickets faster than three men at the door could take them, and thus block the doors or gangways, was a wonder, and, in days gone by frequently advertised as one of the attractions with the show. But that was the time when all admissions were sold at wagon and the advance sale of seats unknown. The coupons for reserved seats were then sold inside the canvas and not "down town" or at special wagons on the grounds as they are at present, to relieve the situation.

Ben Lusbie, who gained great notoriety in 1872-3 with the Barnum Show, under the W. C. Coup regime, became known as "the lightning ticket seller." His original vocation was that of a telegraph operator, and for a time he served in that capacity with the Erie Railway. He first sold tickets at the old Burton Theater, in New York. In 1861 he was employed in the box office at Barnum's old Museum. It was there that he acquired the reputation of being the fastest dispenser of show tickets in the world. He was with the Adam Forepaugh Show for years as treasurer, bookkeeper and chief ticket seller, and proudly wore a magnificent diamond studded championship medal, presented to him by his many friends and admirers. Lusbie was born in New York October 16, 1839, and died July 8, 1884.

There have been several other equally rapid ticket sellers, among them such men as Merritt Young, Dave Watt, Clarence Farrell, John Evans, Jule Keen and others, who were able to feed the ticket takers as fast as they could handle the card-boards, but they were less demonstrative than Lusbie, who was always full of nervous energy, with a habit of working up the excitement over his act at the ticket wagon by thumping his package of tickets and jingling the hard coin on the brass plate of the window sill while shoving the tickets and change into the hands of the purchaser as he snatched the money from the outstretched hand of another customer, making the change as soon as he saw the denomination of the bill, even before the eager hand reached the window. His vocabulary was always copious, and this added to the excitement and belief that the air was full of tickets as well as the wagon.

Charles and Fred Hutchinson, both nephews of James A. Bailey, are equally expert in handling the tickets and cash with the big shows, which they have represented for many years in the ticket wagons and as treasurers of the great concerns requiring particular talent in this line of work. The Hutchinson boys are also proficient in the management of shows, and they were on the directorate with Mr. Bailey at different times, and are now figuring as prime movers in the settlement of the great estate which the famous showman left.

The other men mentioned, aside from Lusbie, were always cool, suave, easy in their manipulations of the cards and coin, working with almost mechanical precision without any false motion, while a hundred open hands thrust into the window at one time would be filled with tickets as if by magic, and the count invariably correct.

Physical Requirements.

The circus, like other great institutions, must have its builders, its superintendents, its bosses, to construct, survey and transport its vast army when mobilized.

In this connection I must enumerate some of the men who have been great factors in handling the physical end of the big shows of the last half century, many of whom are still, alive and active today, which, speaks well for their rational living in spite of hard work, conflicting elements and strenuous life.

Taking such men as Frank Hyatt, Charley McLane, Byron Rose, Tom Lynch, George Conklin, Jack Snellen, Bob, Bixby, and many others who come to my memory as I write, it may be truthfully said they were all masters of their calling, and in my close association with them, often sharing the same bunks, or wading in mud with them on wet lots, riding in cabooses at night, and helping to grade the grounds or “lay out” the canvas at early dawn, I have found them true blue under all circumstances.

Of these men of brawn, brain and muscle, Frank Hyatt, the gray-bearded patriarch, so long general superintendent of the Barnum & Bailey shows, must have precedence, since he dates back to the early days of the wagon shows, and he relates to me the story of times when they used to carry iron pipes and pumps to drive wells and thus procure water for their stock in sections of the country where there were no streams of water to be depended upon, and that the tubing for one of those wells still remains in the ground down here in Jersey, in the vice-like grasp of the red New Jersey clay, from which they were unable to extract it.

As another incident of the venerable Hyatt and the small boy, whom you have all seen, I must relate an argument that I often had with Mr. Bailey and other managers as to the necessity of always having something new to attract attention. As a debate my opponents would claim that the people forgot what they saw two or three years before and that a good thing never grew old. I still insisted, however, and soon it came my hour for triumph.

After the Barnum & Bailey show had been abroad for five years it returned practically spick, span and new throughout, with the richest wardrobe and general outfit the world had ever seen. It was so advertised extensively. Everything brand new! One day, away down in Hoosierdom, in Indiana, when the parade started, the fence at the fair grounds, where our tents were pitched, was lined up with a string of young Americans, and as the familiar face of Frank Hyatt, who had always led the way, swung into line, a young colored critic exclaimed:

"Dare comes de same old man wid white whiskers, on de same old yaller horse! Ebery thing new but de cirkis."

It was to laugh, and Mr. Bailey enjoyed the joke as well as Hyatt and the rest of us.

The aged Charley McLane is undoubtedly the oldest boss canvasman living and can give more mechanical show history than any one else in the profession. He has been connected with the white tops ever since they were first erected and can, virtually, lay out a lot with his eyes shut, while his experience in handling men of all classes has been extensive and his practical knowledge of tents, poles, seats and properties is unlimited.

Of all the trainmasters or railway men I have known Byron Rose stood foremost. His reputation was equally strong among railway officials who acknowledged his superiority in handling their yard service and expediting the unloading, and reloading of the show. As a practical demonstration of this, a certain general railway manager, with whom I was once making a contract for transportation, remarked that if Byron Rose was with the show he would deduct $50 from his rate for each run. And he did.

With such proficient leaders in their line, assisted by expert wagon-masters, boss hostlers, property men and foremen to handle and direct, it is easily understood how such great institutions move on the moment, put up and take down the great shows and do business in a different town, fifty to a hundred miles away, every day. Is there any other firm, corporation, grocery, dry goods or banker doing one-half the same volume of business that can do the same thing, and if so, how?

Existing Circuses Are Few.

There are but. few real circuses touring the American continent today, and, as remarkable as it may seem, there are no circuses listed or traveling in any of the foreign countries at this writing, probably on account of the great war, which is demanding the undivided attention of at least ten different nations, and with the exception of the Wirth Brothers circus in Australia, there is not another to be found anywhere on the map outside of the United States.

In compiling and verifying this list which may be classified under at least three different headings, embracing genuine circuses and menageries, also the wild west and carnival companies which partake largely of the circus, yet are entirely different in their general nature and character, I will tabulate them as follows:

The Ringling Brothers - Albert, Charles, John, Alfred and Henry - who must be acknowledged the present circus kings of this period.

The Barnum & Bailey "Greatest Show on Earth," of which the Messrs. Ringling Brothers are owners and operators. These two shows being conducted on practically the same lines, are easily at the head of the list.

The Hagenbeck-Wallace Show, which has also been in existence for many years, comes next in the catalogue and may be classed as one of the most progressive shows of the day.

The Sells-Floto Circus, with Buffalo Bill (himself) as a principal feature, is owned by Messrs. Tammen and Bonfels, of the Denver Post, and is conducted by them in a most exemplary manner.

The Gollmar Brothers, who are cousins of the Ringling Brothers, and hail from the same town as these illustrious showmen, Baraboo, Wis., also conduct a medium-sized yet prosperous circus.

Frank A. Robbins, whose winter quarters are at Trenton, N. J., has a reputation of being one of the oldest and most successful managers of popular-sized shows in the country, and he has in his time been connected with nearly all the big concerns. During one winter season he presented a most exemplary circus at the American Institute in New York city.

Howes' Great Londo' Shows are now traveling under the management and direction of Mr. Jerry Mugivan, who is also owner.

The famous Robinson Shows, a distinct organization under Mr. Mugivan’s management but in no way related to the Old John Robinson shows, which have been retired for the present at least.

The Gentry Brothers are still running a very meritorious dog and pony show which might be classed among the circuses.

The Might Haag Shows are still traveling by rail and properly classified as a circus and menagerie.

Al G. Barnes’ Trained Animal Show has enough of the circus element to also come under this head, and of the smaller circuses known to be in full effect from season to season we have -

The Johnny J. Jones, trained animals and circus.

Welsh Brothers' Circus and Wild West.

Sun Brothers' Great United Shows.

John H. Sparks' Circus and Menagerie.

La Tena's Novel Circus.

Of the shows of the Wild West character there are numerous small outfits which have attempted to follow the trail made conspicuous by Buffalo Bill and the great reputation that he established, the principal among them being:

The Miller Brothers' and Arlington's 101 Ranch Real Wild West, with Jess Willard, the champion pugilist of the world, as the leading attraction. To their credit it may be said, their exhibition is the only one worthy of being named in the Buffalo Bill class, although we have in addition thereto:

Buckskin Bill's Wild West.

Nelson's Wild West.

Lucky Bill's Wild West Show.

Honest Bill's Frontier Show.

Broncho Bob's Far West.

Buckskin Ben's Wild West and Stampede, with as many more un-named concerns of the Wild West character playing at the summer parks or filling short engagements with the different carnivals and fairs.

Among the more pretentious carnival companies, of which there are many, I would mention:

Heinz & Beckman, Carnival Company.

Colonel Francis Ferari, Trained Animals.

Joe Ferari's Midway Carnival Company.

Foley & Burke's Carnival Shows.

K. G. Barkoot Carnival Company.

Con T. Kennedy Exposition.

W. K. Sibley's Superb Shows.

C. G. Dobson's The World's Fair.

William Judkin Hewitt's World at Home Company.

L. W. Washburn's Mighty Midway Shows.

Rice &, Doors' Water Carnival, traveling and giving their entire performances, consisting principally of aquatic acts, on boats and barges, giving exhibitions at all principal points on the Ohio and Mississippi rivers.

Numerous others may be created or disbanded before this article goes to press. But this register is very, complete and will serve to show the number of organizations giving performances under tents or in the open during the season of 1915.

Since the foregoing was written the Rice & Doors' floating carnival struck the Chicago and Northwestern Railway bridge spanning the Mississippi River at Clinton, Iowa, and went to the bottom of Davey Jones' locker, never more to rise, and at least three others of those mentioned have been closed or retired to the barns for lack of patronage.

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