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Life Diary, by Tom Sandow
Part One Part Two Part Three Part Four Part Five Part Six Part Seven Part Eight Part Nine Part TenPart Eleven Part Twelve Part Thirteen Part Fourteen Part Fifteen Part Sixteen Part Seventeen Part Eighteen
Life Diary, Part One, Sandow Family
This is a personal diary of events from 1940 with thanks and appreciation to persons who have kept certain records and details over the years that I have been able to access. I will do my best to give credit to individuals, mostly British circus fans, for without such people I am sure circus art and artistes would not be able to keep accurate history.Circus fans and followers are able to log events and occurrences with leisured and pleasure whilst circus artistes, in the main are, perhaps, too involved in the actual workload of performing and even the manual labour of moving circuses to keep accurate diaries of events (some may not care to!). I do speak personally – I have not found the time to keep excellent records and so much has been lost because of it. Also, of course, circus followers may visit various shows during a season for stories and photographs whilst the artiste remains on the one show only (perhaps for several seasons) and so will restrict that persons output.
Here in England we had the wonderful John Turner who put forward the Web Site 'Two Centuries of British Circus People Discussion Forum' with the invitation for me to post some pages there. The recent very sad loss of John is a real blow to circus biography for he was the most dedicated person that I have ever come across to archive circus people's history with a fond desire for accuracy – a point of view I do cherish. Which does bring me to one observation found over years in circus experiences that the spreading of gossip or 'rumour mongering' can prove very destructive in our small business world that is circus. It must be said that I have found a very small number of circus fans and followers who have been guilty of this (of course they are not alone for some circus artistes and proprietors also enjoy this kind of pastime).
I do hope that these writings are of real interest. The purpose of them from my point of view is to inspire inputs from others, be they corrections or welcome additions so that a wider content may be achieved. Perhaps additions from long- lost relations? I do have a large number in the United States. - Tom Sandow
The Sandow Family
My family consisted of two great parents, Richard Bratby and Carrie Fossett, two fine performers in equestrian riding double act on the one horse and Ballerina. Prior to starting the tenting circus in 1927 they worked the best theatres around the country performing a fine adagio and table balancing act.
My arrival was in the 'big wagon' during the build up in the land adjacent to the Red Lion public house in Pontadowe, South Wales on the 20th May 1940. I was called 'the unexpected one'!
My parents had three other children all working in the show, my two sisters Violet and Margaret and brother Richard junior.
The period 1940 was, of course, exceptionally hard for circus in England. Petrol was in short or no supply and our show Lorries were laid up and horses, once again, moved everything.
Movement was heavily restricted with movement in the south of England almost impossible hence the tour in Wales at that time. It was logical for authorities to be 'paranoid' about travellers although, generally, they thought circus and showmen provided a useful alternative to depressing thoughts of war. And, May 1940 was the most depressing for my arrival occurred during the evacuation at Dunkirk.
The government was so paranoid that, at the commencement of war, they closed all venues of entertainment so throwing hundred of acts out of work, be it for a short time, until sense was restored.
Business, generally, was very good although the public may not have been at the best receptively speaking. London theatres were places to escape bombs and worries and sometimes allowed patrons to sleep!
The war years progressed and my childhood was most pleasurable and exciting. The family were most gifted and work upon the Variety (Vaudeville) stage during the winter periods was both plentiful and rewarding. Although supplies were short the people 'pulled together' as a team and everyone felt purposeful. Not so much, perhaps, after 1945.
During the early war years my parents formed an equal partnership with the great name of Chipperfield who introduced wild animals to the show for the first time (my father was a horse 'fanatic' and 'wild stuff' as he called it did not interest him much). He and Richard Chipperfield Senior formed a successful bond for some years until 1945 I think at which time Chipperfield's commenced tenting a much larger show to form the largest in Britain along with Bertram Mills who had ceased touring during the war years (Mr. Mills worked in high office with the government). I do know that my father and Richard Chipperfield remained firm friends it was a matter of different business interests. Perhaps a large show did not inspire my father?
I was overlooked somewhat practise-wise not that I was too bothered myself. There was no opportunity to practice during the winters in so many theatres; I was most certainly spoiled with an abundance of toys and books.
At the close of the war work was still plentiful but conditions were even worse that before with vast food queues and shortages everywhere.
During the winters we stayed in 'digs' (lodging houses) with minimal heat and icy bedrooms. Sometimes the theatres were not much better.
The theatres were most strict about children being on stage or even allowed in at all and most weeks I would be left with the 'land-lady' of the house to be looked after and this was fine in the kitchen or front room with the only fire but mostly I would be packed off to a very cold bedroom waiting – in the dark – for the family to return at around 10.30 or 11 p.m.
Until about 1950 I think the business declined a lot so the family ventured the tenting show over to the Republic of Ireland where, at least, food was plentiful.
I am not sure of the seasons but I think the first was 1947 when takings were quite good but they made the mistake of going across again for the 1948 season and it must be said that other Irish shows made life difficult and subsequently the family lost almost everything over there that year having to sell much to find the boat fare back to Liverpool. Our quite large circus outfit never really recovered.
1948 saw the initial break up of the family for my brother Richard, who had married one of the well known circus artistes of Konyot then left to tour independently. He had not been with the show much anyway having been in the army since 1944 or 1945. It must be said that they performed a fine adagio dancing speciality and found plentiful work in top theatres. My sisters performed their trapeze act 'The Sandow Sisters' and toured with my parents forming much of a given Variety bill with six Shetland ponies and a large performing dog act. It was clear that our tenting days were coming to, perhaps, a wise a close.
Life Diary, Part Two. Diary of events from 1940
This a my art effort from a lost old photo showing Sandow's Circus, Spring, 1948.
At this point I must chronicle the beginning of Sandow's Circus. My father came from what is quite a small family name – Bratby – with only several hundreds in England in total. Their origins were of stonemasons in Derbyshire and I do have the fortune to have been supplied with the family trees.
Some members have found fame, one being the late John Bratby, a well known painter. Another great uncle was one of the four founding Directors of the Blackpool Tower Company who designed and built that famous circus building! Strange co-incidences do occur.
My father must have been greatly inspired by the famous strongman Eugene Sandow for he trained to become a strongman himself and put together a weightlifting act for the theatres and joined Lord George Sanger's Circus in 1908. I think he used the name 'Powell' for the strong man act.
In 1912, having teemed with Jim Zola (of the later Zola brothers) they performed a double hand balancing strength table act and toured Ireland that year with Duffy (he did tell so many anecdotal stories of the period – some very funny!) Their billing over there was 'The American Swells.'
They both volunteered for World War 1 and my father was a Royal Artillery sergeant who became hospitalised following the Somme battle (Mustard gas) to be repatriated and then, later, trained new recruits – PT Instructor back in England. He married my mother in 1917, he being aged 27 and she being 21. After him leaving the services they performed their own double act – table adagio – that must have been successful because they toured the London theatres during the early 1920s. Of course there were 'vacant dates' and my father would tour the theatrical agent offices to enquire about possible bookings. He did this with Jim Zola before the war and told stories about meeting other acts and people doing the same thing and joining with them in coffee bars. One name he did mention was Charlie Chaplin prior to him going to America in 1913. They were all about the same age.
It may have been the love of horses as well as each other that brought my parents together for both were 'fanatical' about all things equestrian. Quite different from the two acts they were presenting upon the Variety stages.
Photos: During the season of 1929 my parents shipped the whole circus they called Barry's to the Channel Island. Here we see two of the old living wagons being placed upon the boat.
Circus being 'totally in the blood' they commence a small tenting show in 1927 called Barry's I understand. My mother never really liked working theatres or the lodging houses and this opinion remained even in my childhood so she may have instigated a tenting show. I still have the actual tour route booklet for the 1929 season with takings and expenses listed (for each day) with the rents for ground hire as about five or ten shillings each day (about 12 to 25 American cents in today's money)
In 1935 they called the show 'Richard Sandow's Circus' and later they changed the title to 'Sandow and Son' and I have just one photograph showing this frontage that included some visitors that day, one being George Sanger. The show was mostly horse-drawn. This must have been the design until the outbreak of WW2, with the family working theatres during the winter periods. When the partnership was arranged with the Chipperfield family for the 1941 season they chose the title Poole's.
Photo: For the 1935 season my parents chose the title Sandow and Sons. My father can be seen holding the stake upon what must be a Sunday because they seem happy and relaxed. The persons are visitors on that day and the central figure is Mr. George Sanger with whom I worked for as from 1958.
I would like to list just some of the persons and acts engaged by my parents and Chipperfields during the 1930s and the 1940s;
Mr Mrs Tom and Elizabeth Fossett (equestrian acts – clown)
Author Clark (Ringmaster)
Albert Keen (animal presentation)
Bert Richardson – comedy juggling
Ivanoff – Cossack riding
Derek Rossaire
Bernard's dog act
Johnny Quinn
Johnny Swallow (Salt and Saucy – elephants)
Charlie Beckett
Author Bean
Yeltoni Trio (head to head balancing)
Charlene and Voke – revolving ladder
Bert Harrison – clown
Author Hanlin – flying trapeze
The Flying Medranos
Arturo Pondero – foot juggling
The Viponds – acrobats on horseback
Five Canadian Wonders
Zabeda – contortionist
The Amazing Gridneff's (perch)
Joe Barry – animal trainer presenter
Micky Cavanagh
Butch Reynolds
Matt Henderson
Flying Aces – gymnastics
Borris (hair swing)
Karl Dane
For the 1949 season I must have been pushed forward because I work in our family trampoline act with a basic routine and also various clown bits and pieces.
When I was about ten years of age, in 1950, the family stopped tenting and concentrated more on summer season bookings, be it outdoor gala events or theatre – engaged circus. Several winter circus tours were promoted by the London agency of Don Ross and a close relationship was formed. Work during the post war period seemed plentiful; I do recall that bookings could be selected! i.e., 'shall we take this one or that one'? It was that the family unit was closer nit entertainment wise; they had to supply what the bookers wanted rather than what they may have felt more relaxed with unlike tenting with its freedoms of choice.
The theatre discipline was far more demanding – most being closed through the day meant little or no practice chance to improve or even to start, this being totally negative for me to show any interest not that I was encouraged too. The future did look rather black for weekly Variety – as it proved to be – with television coming forward.
The family also worked many pantomimes during the Christmas season with our pony troupe pulling the Cinderella coach. The travel unit still consisted of two vehicles and trailers with much equipment in trapeze; wire act, pony troupe, and dog act (as required) still a large outfit to tour around. Obviously we could not engage staff so sister Margaret and myself would care for the animals. - Tom Sandow.
Life Diary, Part Three
My schooling was very patchy being on tour most of the time. In the late 1940s I did attend a junior school for one or two 'staying in winter-quarter' periods and then into senior class – different weeks at different schools whilst on tour. This experience was useless education-wise and not too pleasant either. The local kids could be rough like the schools. The buildings then were rather Victorian and, again, cold. I was most interested in Geography and Astronomy. Teaching was good of course but tended to leave out show children from the subject. My most hated subject being sport in general especially football where the kids felt obliged to kick me rather than the ball! Also, in the winter it was in frost wearing shorts. I always found excuses that did not please the PT teachers. One particular fellow who might have been an escapee from the just fought central European regime made me run around the pitch for the entire length of the game.I did learn to read and write via my mother at home in the old wagon. She was marvellous. And of course books and comics were plentiful.
I was told by PT teachers that I had to be made fit! They did not appreciate that I had been 'acrobating' since the age of four and after school would walk the ponies from the stable to the theatre – possibly over one mile and home again when the show was finished. Stabling was usually in a pub yard using the facilities still there from the horse drawn days.
Of course things were not all bad and I did make some good friends who were really interested in show business. I do remember one exceptional occurrence. One afternoon a young and very attractive teacher read a story to us whist perched on the front teacher's desk! I can see her now in fitting black skirt and white blouse with crossed legs. We boys were spellbound!
The ponies were usually placed in the dock area of the theatres and it was my task to care for them and keep them quiet. When quite small I could, sometimes, sit on a chair and watch the show. Only recently I have read a book about the life of the late Peter Sellers and one page mentioned this same experience when he was small. He was, likewise, seated on a chair and some deep voiced actor would boom in ones ear; 'well little man, and who might you be, and what act does your parents do'?
I found the theatres a fabulous wealth of excitement, I felt sorry for the public out front not being able to be back-stage!
The greatest of talent was there week after week with the top stars in Variety at the time and countless supporting acts. Some big stars came from America of course with Nat King Cole, Ertha Kitt, and the wonderful Howard Keel.
Each show he would come to me and the ponies and give each one a lump of sugar saying once, 'I would like to take these back home to my ranch.' I know that the corn is as high as an elephant's eye in Oklahoma but at that time I measured up to is chest somewhere.
When I was about eleven or twelve I began to notice the dancing girls in to pantomimes and of course they couldn't keep away from the ponies. I really enjoyed these experiences and made some pen pals. I did get a bit adventurous when invited to play 'snap' cards in the dressing room – all quite innocent of course, until my mother found where I was and band me from going there again! Perhaps she was fearful about gambling addiction?
Of course the family shared digs with other artistes and acts and a lot of the journeys, especially in the winters, where by train. In those days the Sunday travel was with many other artistes who would be singing talking and playing cards.
During the winter of 1948/49 the family appeared at the Bingley Halls Birmingham in a circus promotion with wild animal acts supplied by the Chipperfields, and a humorous thing happened there. When the Chipperfields parted from us in 1945 Richard Chipperfield left, as a gift, two very small lion cubs. As stated my father was not a wild animal man or trainer but he toured them the next tenting season just as a view for the public. They were small and he would look after them himself like babies. Giving them milk and rubbing their tummies for which they would lay on their backs every time. They got bigger and bigger and would bounce around the wagon walls and my father feared they might escape. In the end he gave them back to Chipperfields. At the Bingley Halls these two lions were then part of the large cage lion act presented by Dick Chipperfield and my father was the ringmaster standing at the cage door. The two lions would recognise him and lay on backs at the cage door! Dick Chipperfield ask father to stay away during the act because they would not work with him there.
It was at the Bingley Halls season that my sister Violet got engaged to James Cordwell, a showman who had some side shows and fair rides. Unfortunately the marriage did not work out with a complete clash of cultures for he could not come to terms with 'circus people getting up at 5 am and retiring early' when 'showmen get up late and stay up late! Their son Peter is now touring a comedy car act.
Life Diary, Part Four
I did paint a rather bleak picture of England just after the war and of course it was so but it did not take too long to commence re-building and by 1960 (when I was working in Paris) it was my conclusion that Britain was about twice has wealthy to France at that time. Certainly the cost of living seemed to be half the rate in the UK and unemployment was minimal. The loss of millions of houses had been replenished, if by unpopular flats (apartment blocks) in part, but at least they were modern. Indeed the drive to modernise went at a fast pace throughout the 1950s – the golden decade in my view, my formative years when people were contented with growing personal wealth and national car ownership growing eight fold since 1945. I was very happy throughout the 1950s; fun was to be had everywhere with fabulous music, entertainment, television and films. The latter being my real favourite. A career in the film industry could have appealed to me. I did try cinema management as we shall see later but I should have chosen a studio.The family were actively engaged in summer shows and pantomimes and outdoor Galas where we could present a strong package. The theatres were then in decline. Some were showing a feature film for the first half and Variety acts for the second half! To try and keep audience numbers up. I knew every line of the film 'One Minute to Zero' that I watched via the pass door!
At this point I will list the actual date log calendar for the final 17 months of the Sandow family prior to a sea-change – each commencing date being a Monday.
1954
July
5th, Gala at Hagley Birmingham
12th one week of Variety at the Aston Hippodrome Theatre (Birmingham)
19th one week of Variety at the Finsbury Park Empire (now a fringe music centre)
26th – vacant
August
2nd, Gala in Northampton
9th – Gala at Rotherham. (This event must have spanned two days because my photo appeared in the first evening press copy billed as 'Britain's Youngest Clown' a very good photograph too so much so that I was followed the next day by young girl groupees! This experience placed in my mind the real power of the press and years later I used the idea for circuses that I did the advance publicity management for. To mention at this point, the Galas were very well paid and incomes for one day might match a full week in Variety. Sometimes an extra act was engaged to supplement our family content).
16th Moss Empire Theatre Nottingham
23rd Moss Empire Theatre Glasgow
30th The Alhambra Theatre Bradford
September
6th The Grand Theatre Doncaster
13th The Palace Theatre Exeter
20th (Theatre in Brixton – London)
27th – returned to the Moss Empire Glasgow
October
4th The Palace Theatre Manchester (with Howard Keel)
11th Theatre in Dewsbury
18th and 25th – two weeks vacant
November
1st Theatre in Air (Scotland)
8th – vacant
15th New Theatre Cardiff
22nd and 29th – vacant
December
6th to 27th vacant
1955
January
3rd to 24th Sunderland Moss Empire Theatre in Pantomime (It so happens that the one and only Mickey Rooney will appear in pantomime at this same theatre this winter – Christmas 2007!)
31st Hippodrome Theatre – Brighton
14th Palace Theatre Blackpool
21st (returned to) Moss Empire Finsbury Park – London
28th The Hippodrome Theatre Manchester
March
7th The Royal Theatre Bournemouth
14th The Empire Theatre Leeds
21st – vacant
28th The Empire Theatre Oldham (Manchester)
April
4th – vacant
11th Hippodrome Theatre Preston
18th – vacant
25th The Globe Theatre Stockport
May
2nd and 9th – vacant
16th The Garrick Theatre Southport
23rd The Moss Empire Theatre Newcastle
30th – Gala in Hull
Summer season circus for Billy Russell commenced on the 6th June at the Hippodrome Great Yarmouth (purpose built circus building with water feature below the ring. It is still there) to the 12th September. At the close of this season my sister Margaret left to retire with marriage to Robert Jones the stage manager at the Rhyl Pavilion North Wales where, for the summer season, 1953, the family provided acts for the 16 weeks run of the Prince Cox (annual) Circus. This is the programme for the 1955 summer season at Great Yarmouth.
Paulo's fast voltage
Sandow's dogs
Li Chung Zsai – Chinese balancing act
Six Shetland ponies presented by Richard Sandow
Clarinda Paulo – ballerina on horseback
Billy Russell's Sea Lions
Molins and Domini – triple-bar act
The Four Mohawks horse riding act
Ray Cortez – flying trapeze
The Two Heinkes – cycle act
Little Walter and Daughter – musical act
The Sandow Sister – double trapeze act
Water Spectacular finally with swimmers
Circus clowning by Len (Spider) Austin and Company
Life Diary, Part Five
My father's troupe of six Shetland ponies, 1955.
In September 1955 the season closed at the Great Yarmouth Hippodrome and my sister Margaret left the family. Quite plainly my two sisters were in effect 'The Sandow Family' for they were the main performers. My father presented the animals but, both he with my mother were no longer performers as such. For my self, just being 15 years of age I was no-doubt useful (caring for the pony troupe for one thing) but as a performer some clowning was my ability with bits of this or that. I was indebted to Len 'Spider' Austin who pushed me forward during the Yarmouth season in various entrees and, for the first time, giving me a real start.
For the previous five years, as listed, the family were well away from tenting circus and had lost the urge for it in effect! Yet oddly the area of tenting circus was still going strong whilst all other areas where in decline. My parents were two of the wisest of people but my father still clung on to this 'family' ideal whilst mother could see writing on walls.
Frankly I had no inclination for much at all in 1955. The 20 or so weeks at Yarmouth were, in effect, the only opportunity for the practice of circus skills – but I had no one to teach me. I was probably finding excuses not to learn anything. My mother said the wisest of things at that time that has stuck ever since. She said; 'Tom, if ever you do an act in this business make sure it fits into a suitcase!' (In short; maximum from the minimum)
Violet then became the main Director along with my father to make any future decisions and she was the main performer left really. I had no view at the time but looking at it later it might have been better for Violet to perfect a single trapeze act and to consider a tenting show season with the three or four acts that we still had.
However the decision was made to continue with the 'Sandow Sisters' which meant the finding of a new partner for the trapeze act. Theatrical agencies do not understand at times how matters change and such a well known act was expected to continue. Contracts for Variety and Pantomimes were there to be signed. In fact the first contract was already signed for the Empress Theatre Glasgow along with others.
Violet must have found hardship in finding a partner through the summer season but did so in a young girl called Barbara from a dancing school in Manchester.
She was just sixteen years old and turned out to be a real trouper leaning the whole trapeze routine in just seven weeks to open in Glasgow on the 21st November.
December 12th was booked for the Moss Empire Sunderland and the 26th commenced a Pantomime season at Huddersfield.
Photo, left: The Sandow Sisters perform a ring routine, Great Yarmouth Hippodrome Circus, 1955. This was the final year of the actual sister act for the new apprentice Barbara took sister Margaret's place (seen on the rings) to continue the same act until 1957.
Perhaps they finally realised that theatres were drying up or they wanted a different life style whatever the reason the family arranged a season with the Harry Coady (tenting) Circus for 1956 and this proved most enjoyable and beneficial to me.
In England we used the word 'josser' to mean someone not born of circus but I have never understood it for this reason. To me the word means someone who is not gifted be it in the ring or in public relations for the product – be it act or show. I have seen so many persons born of circus who were 'jossers' when it came to management or performing and countless persons born out of the profession who were and are exceptional talents. Barbara was such a person.
Harry Coady toured an average sized, two king pole, show but with plenty of acts and personnel. On reflection the show had. Perhaps, too many personnel with eight engaged tent men/staff. The show moved with ease.
Photo, right: The Sandow Sisters perform drop slings over the audience, Great Yarmouth Hippodrome Circus for Billy Russell, 1955.
Barbara came on leaps and bounds and was great fun. Being a few months older than myself she would joke how she would see 'X' rated films before I could! Things like that. She cared for our ponies along with me and we were both paid extra by Harry Coady to care for his as well.
Three circus proprietors were touring together being; my Uncle Tom Fossett, father, and Harry.
I was of course clowning and was encouraged to commence a comedy valtige that was easy enough. However with four of the greatest riders on this show in my parents and uncle and aunt the inevitable happened, Barbara was also encouraged into a bareback riding act that again she managed with great style with a horse supplied by Harry.
Harry toured two exceptional wild animal persons in Jack Smith from South Africa and Albert Keen who was known to us from the past show days. Father managed the whole stable unit and we collected sawdust for the ring. That was it, no build ups or pull downs. Of course all were available in a crisis should one occur.
This was the happiest of tenting seasons with Harry being most generous and a fine artiste himself from the old days of Variety when he presented a comedy musical act. We toured South Wales for some weeks and at that time no pubs or cinemas were allowed to be opened on a Sunday so he would pack as many persons as possible into his two vehicles and drive across the English border to find leisure - all good fun.
The brother of Elizabeth Fossett – Artie Yelding – was the tent master, a Will Hey look-a-like with a string around an old raincoat. The music of the show was a classic vision with two musicians and Artie on drums plus Harry on occasions playing his accordion to create a much laid back atmosphere. The business takings were exceptional but Harry's wife Doris Yelding kept complaining to him about the heat the dust on dry grounds and the many children playing around the big top so the route was changed to green grounds along the South Coast but to less business.
The old and famous elephant Saucy closed the programme with the slowest routine and the slowest marshal music that was so well received by the public. - Tom Sandow.
Life Diary, Part Six
Left: Playbill for a week in April 1957 showing the family appearing at the Winter Garden's theatre Morecambe in a week of variety. This is the period when Barbara formed part of the Sandow Sisters.
Violet's young partner was now brilliantly up to standard and bookings followed but then, during the winter, my father became ill with serious heart problems so they decided to find a circus summer season once again. A return to the Pavilion Theatre Rhyl and the Prince Cox Circus was offered for the summer of 1957. Margaret and Bob Jones now possessed a house there and Bob was still the stage manager. This was a very easy building to work, with excellent stabling on the premises (actually one of the then finest Victorian concert buildings in the country but some years later, during the 1960s, the Town Council decided to knock it down for a 'more modern' replacement now standing and not so good).
It transpired that Violet was forming a relationship, be at a distance, with Marius Freeman of the well known circus family and sometime during the season she decided to join with him and the Freeman family at the close of the season and so it would mean the conclusion of the Sandow family as a bookable unit. This kind of thing is very traumatic.
I was still untrained for any credible act but that did not matter at the time – the problem was transport. My father decided to sell the pony troupe and to concentrate on the dog act that at the time was again, one of the best (and funniest!). The whole future seemed to hinge on the ability to drive - for circuses do not like towing acts around and, in any case, it is not a wise thing for the act to be dependent in this way. For Variety and Galas the situation is worse with long journeys between engagements.
Barbara had grown from the fun loving tom-boy with Harry Coady the previous season into a fine young woman. Barbara was most unset with the proceedings that were out of her (and my own) control. If only I had been a couple of year older and able to drive things would have been so different allowing two vehicles and trailers. But, with just one vehicle and one driver in my father, who was really becoming unfit to drive, and with Barbara and I being too young there seemed no alternative. As it was my parents could not offer anything specific for her and this was a great tragedy.
I must say this, when Violet found her she was chosen to suit but with the short time available she could have chosen badly a dozen times? But she was a gem. I was born into circus yet great artistes are hard to find. It does not matter whether they are of 'josser' background or circus background it must be the result that counts. I do not know, really, what makes a great artiste, perhaps they do not know themselves. Very few are outstanding, it must be more than just work and enthusiasm it must be something from within that drives.
It is a constant and regrettable thought to me that we were unable to carry on she could have done a fine solo trapeze – with thanks it must be said to Violet. I know she cried at leaving. What a loss. She could have done trapeze with circuses but luck and good fortune directed her to choose a fine continental hand balancer who brought the very best out of her. For some time we did correspond and she sent me some photos of the act that must be rated the best with hand to hand balancing and adagio. She toured all over Europe in top night clubs and hotels. I did not see Barbara again for ten years.
Ten years later I was touring with Gandey's Circus and played Twickenham near London. She was then resident in London and via a conversation on the telephone I arranged to have lunch with her in the West End. She entered looking great and exceptionally trim in twin suit and very French – a Leslie Caron look-a-like! Very stylish and with no trace of the 'swinging 60s' look at that time what a change from the girl that used to clean the ponies and get stuck in. She replied to my welcome in a strong French accent quite different of course from the strong Lancashire accent she had ten years previously. She was still unmarried but I did not pry into the why or where's. I suppose it was a question of; 'Let me take you away from all this'! My references to 'the old days' was long gone from her mind. She had totally changed. I suppose she was ahead of me in 1967 as she was in 1957.
I returned to Gandey rather depressed that day but with happy thoughts.
A very sad unit arrived at the Robert Brothers Circus during October 1957, for my cousins had decided to purchase the Shetland pony troupe from my parents. The Robert Brothers were helpful in allowing us to tour the final few weeks and we purchased a good smaller vehicle just for the dogs and to tow the single trailer. At the season close we returned to a comfortable winter quarters but my father died in December 1957.
We received this letter of condolence from our very long standing Variety agent and close friend, Don Ross on the 2nd January 1958. Truly sentiments felt throughout the circus-world for every body liked my father.
Dear Mrs Sandow
It was great shock for me to read the announcement of Mr. Sandow's death in 'The Stage'. Violet's letter was wrongly addressed so did not reach until later today. I express my most sincere sympathy with you. I know how you will miss him, and unfortunately as time goes on you will miss him more. He was a good man, a hard worker and a kind man who loved his family and gave a straight deal to those with whom he did business. I shall always be proud to say that 'Dick Sandow' worked in my productions and my memories of him will remain respectful and affectionate.
My kindest thoughts will be with you. (Signed) Don Ross
He was indeed the rock of my life, I then realised that the carefree days of the past were gone and I was thrown into the deep end of life's pool and floundered around for some time. This meant the end of 'the Sandow family' as such. My father was a complete perfectionist in the ring and out, costumes or harness must be right. The old tenting circus was a model, he would wear immaculate ring-master guise be it a full house or a sparse house. He would expect acts and people to do the same performance in a provincial town as if on a Moss Empire stage. They are the same audience he would say. To him, the words 'can't be done' would get him very annoyed and the word 'impossible' would need to be explained to him! Second best was never an option.
Of course the dog act was then sold too and I was forced to consider a solo career at 17 years. But doing what? I thought equally of leaving circus altogether for plenty of work was available. However a letter arrived from Mr. George Sanger that directed me into a certain direction and fate took a hand as it usually does. - Tom Sandow.
Life Diary, Part Seven
Some years ago there was a comic voice-over to the classical melody 'Coming Home' that went something like this; 'when I was a lad, a had to get up at 3 am and go to work on a round of dry bread and water, walk ten miles to the pit, dig 20 tons of coal for 14 hours with only a 10 minute break, then walk home in the rain without shoes, then to a bath at home in a tin bath before going to bed with a candle. But we were happy then – they don't know there're born today'!The above parody is reminiscent of my formative years. The old timers (as they would call themselves!) were all visibly self confident, the best of show business demanded the finest levels – on stage and off. Acts were proud and deserved to be so. British circus prior to the 1960s was made up of numerous proud families who could interchange with ease with the Variety tours. They would have the best of cloths and show them off. Style was the word. Standards were demanded and reached.
Throughout my youth, although looking back I could not have been too bad, be it clowning and trampoline from the age of eleven and riding at 15, there seemed a constant stream of old 'pros' and relatives who would drop in from time to time and say something like; 'so this is young Tom, and what are you doing now? The answer to them would appear the minimal because they would invariably say 'you know, when I was your age I was doing a one-hand balance on the top of a 30ft perch!
We did one day stands and walked the journeys before a Town Parade at 1 p.m.!
The above is a truism and not likely to inspire confidence? All the professional booked acts were very conscious about personal abilities and most jealous of anyone seen practicing what they would consider 'there're act'. To be invited to take part in any act would be unthinkable. My father did not train my sisters for trapeze, they were trained by an engaged person on the show to do it, likewise he did not train the ponies either for he knew his limits. The pony troupe was trained by Joe Barry from Bertram Mills to the highest of standard.
It must be said that my elder sister Violet who performed a fine slack wire and juggled on it spied me one day practicing with her jugging props and said 'don't use those, if you want to juggle get your own props'!
All the programmes to 1957 that the family were involved in had the very best of acts so the logical thought in my conscience would be 'unless you can reach this standard do not bother'. The message: 'we want you to join us and to be as good but don't ask us to help' so clearly I lost interest in any form of practice. I do not recall my father demanding that I do an act apart from the riding, because it involved a horse I suppose. He did say to me once, because his only vice was horse racing; 'how would you like to be a jockey? I do know one or two trainers'! I have always thought this very odd when he was so involved with circus at the time. My mother, of course, said 'put any act into a suitcase'!
With this constant indoctrination I was totally in belief that the ring and its performers meant 'circus' which is true from the paying publics viewpoint and all the acts and artistes would confirm it. 'We are circus' they would say. So if one is not in the ring one is not of circus? This would inspire an inferiority complex.
Of course the reality is quite different for 'circus' also means the transport, the publicity and the general management for without these areas 'the ring' would not be there. A credible person out of the ring is just as important as some persons in the ring in areas that the public do not see or care about. No-one is going to pay admission to see a tent or a lorry?
So out of the blue was a lifeline from George Sanger who said that they needed people to help run the show. My mother had a fine trailer and I was comfortable and she was a great cook! But we had no vehicle. However he said not to worry for he would tow it with a Land Rover.
We did not have a contract, in fact the first contract that I signed with Sanger's was for the 1961 season. In the film 'Casablanca' the line says 'a shake of the hand is certainly not good enough, but it will have to do' and it is said that a contract is a signed agreement of mutual mistrust!
The Sanger family consisted of George and his sister Victoria who was married to 'Pimpo' Freeman (a relative of Marius who's family Violet had just joined with) there son Patrick and his wife Muriel and their sons Michel and Peter who were of school age.
Mr. Freeman was then infirm. None of the family was in the ring other than Pat who worked his well known comedy act with a donkey - Old Ragnas. He also managed the transport that was a huge burden.
The show was the same size to Harry Coady but with less personal and less vibrancy in the ring. The general appearance was of the 1940s and a two pole tent.
The three clowns were the Zola brothers with Jim (who was my father's table act partner in 1912) and his younger brothers Babs' and Claude.
A strange co-incidence that I should join Sanger's exactly fifty years after my father did in 1908.
We met with the family in the old showman's wagon and Pat said that running the show was hard for them and they needed 'corner people'.
Personally I was split both ways for I had yearnings for the ring but the same old problems persisted. I said to Pat I would like to do some clowning but Pat said; I am not really bothered, you must speak with the Zolas. In any case the wages will be the same! Obviously he would not be happy because he wanted help not clowning. I did speak with the Zolas who performed very slow and old fashioned routines I thought. I asked if they would like me to join with them. Jim was most friendly and with warm memories of father but old times did not mean anything for it was made clear; help was not required. Looking back in retrospect they actually did me a good service.
Life Diary, Part Eight
'Lord' George Sanger was, of course, the largest show in Europe during the 19th Century and 'Lord' George was most certainly the most prolific of showmen with a personal visit to the show from Queen Victoria. In fact she apparently gave to him personal permission to occupy any of her common land! The then George Sanger would be his grandson I must assume but would need to have it verified. In the early 1950s the show was quite large and dominant but 'Mr George' as we would call him apparently invested into various ventures that were not successful. An ice show under canvas proved a disaster.My mother was at this time extremely active and able with an immense knowledge of running circuses. She helped and took control of money matters in the box office, advance bookings and sales.
For myself the out of ring experience in running a tenting show was completely new of course and I found it just as rewarding as to taking part in a performance, and less stress. I actually found it all fun at 17 years. Driving things around the fields soon had me able to pass the driving test. Sanger's possessed the oldest vehicle in circus, a 1921 Scammel chain driven traction lorry. I never went near that!
Pat had on his shoulders far too much with tent and transport so welcomed me to take the tent (mostly) off of him. The condition of the show was in poor shape generally with the tent well worn. Our cousins Claude and Margaret Yelding were supplying their trapeze act and it was Claude who would spend some hours on a Sunday stitching. Naturally I would stitch with him.
I was, I suppose, what might be called 'a right hand man' in many capacities but we were never abused in any shape or form. In fact the Sanger's were the nicest of people, very well spoken and the best of manners. 'Would you mind doing this or that' or, 'shall we have breakfast before the main poles or afterwards'?
George Sanger knew my mother well of course and the swapping of endless stories occurred frequently. He was a great humorist and joker 'we only tour within the green line bus routes' meaning within fifty miles of Piccadilly. They certainly toured the very best of grounds, all the very best of public parks in the south east apart from Windsor Great Park – no venture has ever occupied that! Of course some grounds were not too good. This was one of his humours:
'You know (he said) there is always some character who will circle the ground when we are building up before closing in to converse. Never let him know who I am! If you do this will be the usual output.
'Are you having a show today?'
Yes
'How long is the circus here for?'
Two days
'Will you have it ready in time?'
We might do if you carry some boards
'I haven't seen any posters; I don't think anyone knows you are here'
There is a poster in that shop over there and how did you know we were here?
'Somebody told me. Why you are on this ground the better one is on Bollard Road. The last circus on here never opened'.
Who was that one?
'I don't know'
'This ground floods very badly in the rain'
'Is this the original Lord George Sanger's?'
Yes, you can tell by the age of the transport. Are you coming today?
'I might do, what acts do you have?'
We have the West German pole-vaulting champion who used to be the East German pole-vaulting champion.
Are you Lord George Sanger and did you write the book 'Seventy Years a Showman?'
It was a very quiet and generally happy show to be on and much humour. I recall taking a lorry to collect something that had a drop down ramp for loading ponies that on this occasion it had been left off. The number plate was attached to it. I should have checked it. However, I could see a police motorcyclist following for some time before flagging me to stop, after which he said; 'Please step down Lord George Sanger'! (they still used the title of course) 'Where is the number plate? He then said; 'I will provide an escort to your circus and speak with the proprietor' He let the matter drop without charge.
On another occasion it was a very hot day and the front wall flaps were open to let in some air. Pat Freeman presented a troupe of ponies and entered the ring with a flourish followed by the troupe that should have turned right but instead, in perfect line, past him closely to continue out of the front entrance and into the field. This caused great laughter with the audience along with every one around and Pat took a bow to three side of the tent before leaving the ring!
We were with the show for two seasons, very smooth running, and no wild animal's just equestrian stock with a tidy stable unit. All very clean apart from the tent but then one would not realise that a new one could not be afforded. The general publicity was not brilliant but at that time I knew next to nothing about the art (which it is). The old philosophy of too-wordy posters had become obsolete when newer and better methods were available. In later years I learned a great deal about selling.
The Sanger's had friends in higher places; one or two leading actors like Michael Wilding would visit on occasions. Another visitor was Harold Sharpe the well known British sweet manufacturer. I did not realise at the time what a large influence he would be in my life.
We were not altogether surprised that great difficulties were encountered for the show to tour the 1960 season – and it was laid up. For that late booked season I did try my hand at advance publicity with Fossett Brother's – yet more cousins – and a show similar in size to the Sanger's. This tour was successful enough and at the close I received another message from my brother Richard that changed things totally. Of course I had my own towing vehicle at this time.
Life Diary, Part Nine
Billy Smarts Circus
In 1960 Billy Smarts Circus was, debatably, the largest circus in Britain seating 6000 people, but most certainly, the most successful. Its management was exceptionally dynamic and could not be faulted. I received a message from my brother Richard that he was touring with the show at this time, late October, and was in negotiation with them to supply clowns for the 1961 season. He said would I wish to team with him there.
The circus was at its last stand of the season that was always Clapham Common in London – opposing the tube station. They always finished the season on this ground and actually put into place the full programme that would tour with the show the next year – in effect running it in. They also did a television recording at this stand for the BBC each year.
I was completely awe struck when seeing this huge outfit. It had one central ring with a 17ft track circling around it within a 225ft width four pole tent, magnificent. I don't know the number of artistes but in could be 50 or 60 plus a huge number of staff.
I took no part in his meetings with the Smart administration but it was clear that no progress really was going to happen. In any case Richard would assume a kind of booking manager for who ever made up the squad and, I would conclude take a lions share. At the time there was no point in making issues – it did not look like taking off anyway.
There was no income of course but a holiday in London with free parking was not so bad. The show already had magnificent Continental clowns in the ring and more than enough track clowns as far as I could see. However I made myself known and volunteered for a number of press promotions and various publicity calls that the Smarts pushed very hard every day somewhere or other. This paid for my free parking at least!
I was totally impressed with the vibrancy of it all. Something seemed to be going on every five minutes. The show had recently completed two major films that were on release nationwide (if not world-wide) one being a comedy and the other being 'Circus of Horrors'. Both were grossing very well at the box offices.
The programme was wonderful in my eyes with a huge band led by the same musical director from the Hippodrome Great Yarmouth so both my mother and I knew him well. I was most excited and this inspired me, once and for all, to practice an act!
The programme consisted of an act by the German, Barchelle, who performed a huge tower of crystal balance that went marvellously well. I concluded that this act would be a starting point along with roller balancing that I had played around with.
Whilst there I met with Len 'Spider' Austin, again from the 1955 season at Great Yarmouth, and he came to my rescue once more. He offered to me a season with the Bouglionne Circus in Paris for a short winter period that Christmas. This time with track clowns that actually existed! He had the annual contract with Bouglionne to supply clowns (mystifying really when one would conclude that an abundance of clowns would be available in France – but one is not to reason why).
I parted from Richard on good terms and, eventually, joined with the troupe that numbered around ten for the Paris run. This show again was, and still is a very large show and did very good business that Christmas. I knew a few gags of course but these clowns were professional with great experience so I pushed forward mostly within there routines. Track clowning might be thought lowly? But it is a major part of large circus – best known perhaps in America.
My mother was at our comfortable winter quarters (we were all in hotels in Paris) when I received a message from her that Pat Freeman of Sanger's had written to her and wanted our services for the 1961 season. I was a little apprehensive about the proposal knowing that the show failed to tent that year but the facts were most encouraging. Harold Shape had taken over Lord George Sanger's Circus.
Photo: The tent is being built up and we see Pat Freeman standing at one King Pole.
Life Diary, Part Ten
Upon return from Paris I found that Pat Freeman's letter was glowing, full of excitement and overflowing about the future Sanger prospects. He said that they now had a brand new tent and transport fleet (he did not mentioned anything about Mr. Sharpe). Obviously we were equally pleased so I telephoned Pat to be agreeable but saying that I must clown that year and practice. He was fully agreeable and terms were settled. He requested that my mother supply the canteen facilities for the work staff. This she was pleased to do. I had told him that I had just returned from Paris for Len Austin and he surprised me again by saying that Len would be touring as well and no-doubt I would clown with him so obviously I thought it was Christmas all over again!
He then sent to us a contract (a novelty in tenting circus!) and invited us to proceed, at once, to their new winter quarters near Ashford in Kent to help put the show together where I would be paid to do it (yet another novelty in circus, to be paid at winter quarters!)
On arrival we found that the winter quarters were part of a business park close to Ashford. No-doubt owned by Mr. Sharpe or one of his associates. Two hanger sheds plus smaller buildings, workshops, and hard standing – a perfect location. Nothing was told to us but it became obvious that Mr. Sharpe was running the venture and with the Sanger family as co-directors. (The reader might be interested to learn that the original Lord George Sanger winter quarters – a farm – is now under Gatwick Airport)
The season commenced in March and I was too busy to practice. When the season started I found that Len's son was performing the tower balance routine so I concentrated that year on the clowning, roller practice and stilt walking.
Mr. Sharpe had put in place a real gentleman as General Manager a Major (retired) from the British army named Hill. He was absolutely typical, tall with moustache. It is true, that he entered Germany in 1945 and came across Cirkus Hagenbeck in terrible conditions so the army took it over under his command and saved many animals. This must be pure 'Hollywood' surely? He made an exceptional job as Manager. Mr. Sharpe also engaged a complete 'josser' as Publicity Manager who engaged two attractive girls for the billing wearing airline type dress with caps with 'Sanger's Circus' on the brims! The accounting was immaculate and NI payments deducted from pay packets and slips.
The tent was brand new with two main poles with seating for 1000 and the whole show was blue and white and looked exceptionally smart.
When with Sanger's for the previous years they would not encourage any single girls on the show at all (always trouble said Mrs. Freeman!) In contrast for 1961 a troupe of Digger Pugh girls were engaged for various acrobatics including rope routines around the central trapeze supplied by Quinn Owen. Photo: The very well known Digger Pugh supplied many troupes of girls to circuses and here we see the head girl for the 1961 season.
A five piece swing band occupied a bandstand with excellent musical score – all young fellows. In fact the show that season must have been the youngest on the road for even Quinn Owen was just 21 years old. The youth and energy was terrific and the eagerness to practice was fun. I put a rope between the two king poles and was soon walking the stilts.
The band would play during the interval, just for the joy of it, the best of traditional jazz (that was reborn during that year of 1961) and I can say without fear of contradiction that the audience would sometimes stand and applaud with many times a packed tent.
The show toured major resorts that season and 'the young ones' would often gather on the beach after the show for music and barbecues until 1 or 2 am. Great days yes? Perhaps my practice plans went slightly adrift!
The 1961 Sanger show was the strongest programme with Scott's seas lions and a French act to finish – a somersaulting motor car.
Photo: This is a shot of the inside of the tent showing the audience from the band stand trailer.
Life Diary, Part Eleven
The close of Lord George Sanger's CircusPhoto: George Sanger painting a vehicle.
It is the story of tenting I suppose that wonderful seasons and experiences do not last. The show pulled back to the Ashford winter quarters and all looked so positive for the next year. I had personally improved so much talent wise and practiced hard throughout that winter period for the 1962 season. I did have a credible roller act and stilt walking to offer and the Sanger's obviously wanted my services. But, personal matters were not healthy with the directorship.
Anyone who has tented will know the score. Sometimes two camps may form pro directorship or anti-directorship and sometimes the directorship will actually encourage this unhealthy state of affairs. Persons say to persons such like 'what do you think so and so have said about this person or that' or, 'I hear this rumour about such' whatever it might be. I had so much experience of these matters that I always followed my good mothers advice 'I don't know'! Don't get involved – stay ignorant – stay neutral.
I still don't know what the problem was really but one would guess that Mr. Sharpe had invested so much into it he would assume the major role in ownership – rightly so I suppose. The Sanger family may have resented this but as such a proud and famous historical name was being forwarded with such vigour and success I do not see from a business point of view why they should be so unhappy. Perhaps they were on guarantees and wanted precise shares instead?
However, when the show pulled back to winter quarters the future seemed good and I was more than happy, along with some staff, to prepare the show for 1962. Very comfortable and well paid.
For the next season it transpired that Mr. Sanger and Mrs. Freeman would not be touring with the show only Pat Freeman and family with his comedy animal act plus other animal presentations. He would not be the tent master and asked me to do that job totally from him. Friction grew worse by mid-season 1962 and Pat left the show to join Cirkus Krone in Germany.
The programme was not as vibrant as the previous year with no band only organ and drums. The show toured without difficulty but the life seemed to have drained out of it. Mr. Sharpe hardly visited whilst the previous year he showed much interest. I felt most glum in contrast to the previous year putting the show together. Mr. Sharpe was a true 'sleeping partner' in fact no reference was ever made to him or title on publicity or anything. A short time before the season close we were informed that Sanger's Circus would be closing at the last stand.
When the show was returned to the winter quarters the place seemed dead and full of ghosts but one could hear music playing. All the pieces of the show were put into precise order as if ready for examination of a lot sale. My feelings were of depression and to depart as soon as possible, I felt like and old sailor might when he sees a great ship sail for the last time.
I was exceptionally impressed with the way these 'jossers' ran a circus. I was extremely proud to have known Harold Sharpe and to have worked for him and also the Sanger family during my youth for giving me the real chance to learn all things circus that I was ignorant of before. This show pushed me forward in so many ways with complete honesty and sincerity that I did not find elsewhere that then shaped my life. They were truly great and exceptionally happy days.
During the final weeks of the season I had good photographs taken of the act and posted much out to club agencies in the north for the north of England was then buzzing with working class nightclubs opening everywhere – starved of acts.
I noticed that Billy Smarts were also advertising for track clowns to appear at the Queen's Hall in Leeds where they were presenting the first short resident circus season so contacted them as well mentioning my previous efforts for them at Clapham Common. My efforts were most fruitful with some club engagements and a contract for the Queen's Hall Christmas Circus.
Life Diary, Part Twelve
When practising the roller balancing I constantly thought about 'acts in suitcases' and with the growing thirst for club acts such an act is what they would want, to work in minimum space. My biggest disadvantage was not having a glamorous partner, (!) a necessity in most speciality acts. However I could not afford one and in any case it can be a 'minefield' for so many reasons well known or obvious.However, I could work the act mostly on my own with a small assistance from the club compare. (Actually I was most flexible and upon agreeable occasions would present my self as the employed waiter of the club having to replace the real 'artiste' who had failed to turn up! So I used 'his' props! This could be very funny).
I was very pleased to have the booking at the Queen's Hall but a career in track-clowning was not what I wanted, however this engagement filled a good space. Some of the clowns I had worked with in Paris were there that winter so it was easy enough. Billy Smarts also presented a grand finally with most of the suitable artistes taking part in a big Wild West finish with the 7th Cavalry and a stage coach attacked by Indians. I played one of the riding Indians.
Unfortunately Leeds in the winter of 1962 – 63 was more like Tromso in Norway with the coldest winter since 1947. Temperatures were well below zero all the time and we clowns would put costumes over street cloths to keep warm for outside of the heated circus area the building was cold.
The business was good in the circumstances but not to equal Smart's tenting. Also the building was not ideal being a disused tram terminus about 40ft high. Billy Smarts used there tenting seating but with the top gallery seat being, say, 15ft above the floor it might be at a level to the swing of aerial acts or perch acts.
The season then closed so I had to fix summer 1963 and for this I toured with my cousins Tommy and Bobby – the Robert Brothers. Two shows toured at the time that looked very alike on the field, Robert Brothers and Sir Robert Fossett's. Both toured the same size four pole tents – seating about 2000 - and both toured about six elephants and with the name 'Robert' for each the public would think one was the other. However both toured strong programmes and in the Roberts case fast and brash. I supplied my act, stilt walking, and some clowning plus general work that is expected on tenting shows.
The next winter brought in a large number of club engagements with some bookings at five minutes notice! This market was exploding because via a loophole in the law the public could gamble provided that they were members so clubs simply made all the customers members whether or not they gambled. No real harm was done and the northern public were made very happy with the very best of top liners at times at a very modest admission price. (A very large example is in Las Vegas with 'Circus – Circus'!) Naturally the government frowned on it all I suppose and eventually brought in strict rules that ruined everything.
So, gambling for the working classes was packing them in. The clubs were furnished exceptionally well out front but, on occasions, for acts back stage it was make do. Also a struggle to get ones music played. Sometimes, only one dressing room that contained, perhaps, crisp boxes for the bar and usually the resident 'pop' group would take up half of the space with beer glasses from the previous week! Once I did change for the act in a broom cupboard and compares would invariably give the ones act title wrong such as 'welcome now, Tim Saunders!' or something like.
However, the word 'Variety' had returned as of the old days except this time the acts were of no specific selection if they filled time and pleased the punters, who cared? Some venues put on special stag shows or for men only nights with blue comic material and striptease. The venues were conversions or adapted old cinemas but mostly plush, some were exceptionally so. Tables and chairs for the audience with the bar open constantly. Most of the time the central dance floor would be the artistes working area and this was very good. The clubs booked many top names such as Tom Jones, Shirley Bassey, even top stars from America like Gene Pitney.
I worked one full week with more relatives, another Bob Fossett and family who worked a well known stilt act, The Longtons, who planned a summer season under canvas at their home town of Skegness so I agreed to do the summer season their with that show for 1964, a resident season with no build-ups or early starts.
Winter was back on the club circuits and for the 1965 season a booking with Sir Robert Fossett's circus similar to the Robert Brothers.
A very high quality middle sized show with good acts. Ivor Rosaire presented the elephants with great style. Also, 'Jacko' Fossett, the famous clown (and company) were there. Jack's wife Connie assisted me most professionally with the balancing and for the first time my act looked specifically 'Continental', Connie being one of the Read Twins – twin dancers from the Variety theatre.
Life Diary, Part Thirteen
Photo:This photograph is a copy from an original that was given to me by a close relative so I do think I may use it. It shows Fossett's Grand Circus in about 1880 situated upon the Worcester Race Course ground. It was soon later called 'Sir Robert Fossett's Circus' and this would be my great grandfather Robert. One can see that the parade wagons are ready to commence the parade. These old carved wagons were sent to Florida in the late 1960s or early 1970s to be placed in the Ringling Museum of Circus in Sarasota.
Both the Robert Brothers and the Sir Robert Fossett tenting shows were very neat on the grounds and as mentioned, were mirrored in appearance regarding the tent the seating the acts. The only difference really was that Robert Brothers was run by two families whereas Sir Roberts by a brother and sister (again personal cousins to my mother) and children of the original 'Sir' Robert. Bailey Fossett was a fine wild animal trainer and presenter and his sister Mary one of the classic ballerina riders in her youth.
Yet again a very well run middle sized show but with just one problem they engaged, each year, a very useful large family who managed all of the tent and the transport and the staff. And they made a very unhappy tour for, to keep the point in microcosm, they had little understanding of circus art or artistes or of public relations. Many stories could be added but just to say that the tour over that season put me off of tenting circus for quite some time! (This also applied to Jacko Fossett!)
Indeed, personally I had grown despondent I felt that I had reached a certain level that offered no improvement. The clubs were very fickle and could not be viewed a career other than incomes and the thought of first class Continental bookings (that sister Violet's late partner Barbara had achieved) or top summer shows in Britain were not an option for me at all. Frankly my act needed that glamorous assistant at least and much smarter props.
During the latter part of the season I accepted an invitation from the Rank Organisation who had advertised in trade journals for cinema managers, the Rank Org: owned all of the Odeon cinema chain. I then took the job as Assistant Manager at the Odeon Sutton Coldfield near Birmingham and arrived there late 1965.
My mother was now retired in comfortable parking quarters in Cheshire which is one of England's, mostly farming, counties and very rural.
I was in good accommodation and the job was pleasing enough and very educational taking a keen interest in marketing and the publicity of films. I attended seminars and lectures and was intrigued to learn how big-business approached the press and the better ways to do things for apart from Billy Smarts and Sanger's under Mr. Sharpe, no show that I had been in contact with were efficient (they were efficient in methods but not necessarily in touch with the persons who were dominant that they were trying to reach). For without efficiency in the promotional area, with modern thinking, tenting circus would stay in decline as it was in decline from about this time. Certainly the number and general talent of British acts were falling fast and shows had to import more and more Continental acts.
I was with Ranks for almost a year but the circus/stage bug still persisted. I enjoyed a wonderful lifestyle at times when tenting at its best. But of course, by its demands that some may view as verging on ludicrous, (!) circus could contain the worst of logic, hardships, uncertainties and stress.
Joe Gandey's (the very best in small) Circus
During September of 1966 I decided to leave Ranks for I learned that Joe Gandey's very able Manager, Peter Fetherstone, was leaving at that season close and Joe would like me to replace him. So, I joined the show that September to learn his ropes so to speak.
There are very successful double acts in show business only because they understand each other off the stage as much as on the stage. In Joe Gandey I had found a man after my own heart! We were very different personalities yet I understood and totally agreed with his philosophies and he the same with me. We did not have one cross word in the following three years that I toured with him.
I was absolutely impressed with the simplicity of the shows promotional material – quite brilliant in fact. Peter had done a great job.
Where Sanger's only toured within 50 miles of Piccadilly London Joe Gandey only toured with 50 miles of Piccadilly Manchester! In fact he was personally so well known he was often referred to as 'Joe' be it by some of the public or council officials. Joe, being the son of Robert Gandey who started the show 20 years previously, twenty years and what changes (!) from horse drawn wagons and gas lighting in the streets to the Beatles and colour television. From 500 to 1000 Circus Variety Speciality acts reduced to about ten per cent of that number.
It was always his philosophy to have the complete tour booked, i.e., to close each season with the final ground arranged before he started the tour so Peter had already booked the complete tour to October 1967. I then commenced booking the tour for conclusion in October 1968 and so it went until I left him in 1969 with his route booked for the following 1970 season.
I agreed to supply my balancing and plus stilt walking and to manage the advance publicity and for this he offered a very good salary plus a good bonus should the business be good. It was most certainly good!
Life Diary, Part Fourteen
Joe Gandey's Circus
Upon planning the approach for the next season I suggested that we should put out more posters (he was also exceptionally conscious of pennies! If someone asked for say, nails, he would enquire 'how many do you need'?) And that I will market hard with the press. Joe was most concerned about the press for they seemed to fail in getting say, positive, coverage with it being a small circus so I finally convinced him that this would change and it did with many full pages of photographs appearing in local papers – I do still have the copies.
His young son was at school and visited from time to time and went into the ring with his father clowning. I remembered that old occasion when I was featured as 'Britain's Youngest Clown' so this idea was used often.
I did the bill posting with his oldest son from the show and Joe himself also did a special and precise form of marketing. Billing for Joe was such an easy task, so many humours; one shop actually had the poster they had hung the previous year – in the same place on the wall! Another shop was closed so I placed it in the letter box with the sound of a very large dog pulling it through. When I saw the same shop during the stay the shop keeper had hung it on the front widow minus a section eaten by the dog! On another occasion I went into a butchers shop and the butcher said 'for old Joe of course, put it on the window, and here take this pound of sausages! That he then gave to me free of charge. The Gandey show was actually shown affection from the public at that time – a quality no other show could claim.
Joe Gandey was a method person and totally habitual. He would never move the show on a Sunday. 'We have one day off so why be bothered by new children' He would not call a moving morning at one set time it would be adjusted to the distance.
The tent was up in two hours and he would not carry one unnecessary item. Everything fitted to the transport available, He put a task to each person on the show and expected them to manage it for the year (like Billy Smarts) 'this is now your problem' 'so you need another light bulb' he would say not 'we'! He would not allow one sweat paper to be left on any ground – nothing.
He hated the pasting of bills on walls and so did I. My personal business association with him was excellent and we did full-house business week after week. I also opened many new grounds previously not used by circuses.
He toured a very small show by assumed standards but also ahead of its time with a big-top seating seven hundred and about twelve artistes in the ring. All the vehicles were kept immaculate and washed with paintwork by a professional sign writer. His opening speech to the audience would say 'we do not claim to be a large circus' True, but it was certainly the best small circus and ideal for Galas that we had plenty of coming in.
A need to move on
During the last season I grew very close to a very attractive circus fan who visited on occasions and we became engaged. During that winter I decided that, with this attractive partner we stood an excellent chance to obtain the best summer show and Continental bookings alluded to me thus far but I needed a season to practice more and plan a better act with better props – this would take time and work but remaining with Joe would not allow this to happen. I wrote to him prior to Christmas 1969 with my planned outlook and he did understand being a good friend. I received this letter from him (shortened)
Dear Tom
Thank you for the letter. It has come as a surprise that you have decided not to tour with us for next season. Of course Mary and I wish you both every health and happiness for the future. It is very good of you to continue the routing for me (for the 1970 season) as you know I will look after you for doing it!
Farnworth Council telephoned to say that another circus had applied for their ground but with your application already with them, and because they know us so well, they have preferred us again. Please discuss with them the best dates.
Kindest regards always
Joe
Shortly before Christmas 1969 I contacted David Smart who was seeking a ringmaster for the following year so Sheila and I was invited down to their winter quarters in Berkshire.
Life Diary, Part Fifteen
Sheila and I were married in March of 1970 and joined Billy Smarts Circus at the first stand of the season in Nottingham. We both initially met with David Smart just before Christmas 1969 to discuss his advertised requirements and if we could match them. The circus winter quarters in Berkshire were, as expected, very big and well equipped. At that time the show was run by the two brother families of David and Ronald but it transpired that David Smart ran the show on the ground whilst on tour, of course with great assistance, whilst Ronald Smart was engaged in other matters.
The request was for a replacement ringmaster, and I was subsequently engaged for this. Sheila, having worked in a financial capacity, took over a sales managing situation. In this case Ice Cream. One must remember the number of patrons could (and did!) reach 12,000 to 18,000 in one day. She was just 19 years of age and did an excellent job. The total sales and merchandising of Smarts was tremendous. The show would do one week or two week stands and the biggest business that year was in Liverpool with the tent packed twice daily for two weeks. (I might add also, that the big box Lorries that were emptied would be full of balloons that staff would spend hours inflating each day!)
Photo, right: During the early 1970s Sheila and I presented a fast roller balancing act for clubs and coastal theatres.
David Smart specifically requested that I should be a correct liaison officer between the management and the artistes because, as he explain, the previous ringmaster would take upon himself tasks not always sanctioned by the front office like the delivery of the morning post to various caravans that, according to Mr. David, would allow the excuse for 'coffees' here and there and he could not always be located. He made it clear that it was their policy to request a certain job well done – no more and no less. No additions to. Everything was agreeable and we agreed terms.
Photo, left: 1970 season for Billy Smart - this photo is a press copy showing artistes posting their Postal Votes regarding that year's General Election. I am the ringmaster on the left!
The first show was well covered by our trade journals of course and one writer, reviewing the programme at the first stand said: 'Tom Sandow is the ringmaster this season but made few announcements' actually I made no announcements! I did not do so for two or three performances for it was not realised by the writer that the management of 60 or 70 artistes and the ring staff would demand much organising behind the ring doors and a priority to waving a top hat around in my view at that moment and also in the Smarts view.
A question of, move this cut that extending something else, who might be missing, send a runner, inform the band of changes. We were both obviously successful in the jobs because we were invited to tour for 1971 but our plans were to develop a credible, bookable, speciality act for top summer shows and in this we did succeed in doing.
The Billy Smarts system of management was not always liked (moaners said it was a moving factory) but I would not agree with this. To move such a vast enterprise would need a strict 'code book' and one could never question the precise logic that ran this show or indeed the brilliance of the Smart families.
One specific 'brilliance' that could be attributed to the great Billy Smart himself (books are written about his showmanship) was the fact that he purchased, in 1946 when the show started, 16 American MAC ex-army tractor lorries but used only eight of them so that the remaining eight might replace the ones disposed of or parts used. The same Lorries were on the field in 1970!
Billy Smart senior was no longer with us having died during the 1960s but he was the master of public relations, regularly seated himself at the main entrance to welcome the 'punters' in his broad 'Cockney' accent and large Stetson; 'hello my love' he would great some woman, 'you will have a great time today, we have some great acts this year'.
The tent was as before, 225ft in diameter, with two sets of king poles that would 'leap frog' each other from town to town along with the advance unit and booking office. (One or even more booking offices were located in shops in the towns). The advance staff numbered up to 20 persons.
Perhaps it has been well documented but, nonetheless, I feel there system should be listed here. 'Corner People' was indeed the system and operated like this on the ground under various members of the family.
General Manager – Captain 'Tiny' Fayre
Then in no particular order
The Stable Manager
The Tent Master
The Transport Manager
The Ringmaster
The Front of House Manager (the front of show Box Office and advance bookings may have been yet another manager)
David Smart had a specific and separate front office (I only visited his large articulated living trailer once) for all show running issues and this was open from 9 am to 1 pm daily.
Complainers would say it was 'touring socialist' which in fact was nonsense but certainly all acts and artistes were treated most equally with no personal favourites. If one had to bother the front office it had better be a good reason!
The management would sign all notifications 'The Direction.' These 'Directives' took the form of 'yellow perils', printed messages on yellow paper sent to each of the Managers for each to attend to. No other Manager would know what another was about. I would receive notes addressed 'To the Ringmaster' and signed 'The Direction' always before the office closed so the system encouraged afternoons off that I used for practice. Some notes I would hang on the artist entrance notice board be it about press calls or publicity calls for all artistes were contracted to take part when required. Some might be very critical. One note said; 'Some artistes taking part in our Spectaculars are not smiling – please do and make sure that we keep the programme festive'
Another said: 'We do expect your best costumes at all times'
Another was quite harsh at the start of the season it said; 'It is noted that certain caravans and vehicles are not painted the show colours if this is not done before our next stand these units will not be allowed onto the site'
One may deduce that the act was not being sacked but would be expected to find an alternative parking situation!
Life Diary, Part Sixteen
During the season the show usually made three television recordings for the BBC – one being a specific show for children and another for the Christmas special. These were very busy times with a constant liaison between the office, the BBC producers and the artistes. Many new acts brought in just for the TV shows and well known celebrity people. Yellow messages would be in abundance for they would never use word of mouth. Every message would be logged and duplicated noted and timed.During each performance during the season, to the front of the lighting console were placed four chairs and each performance would place one, two or more members of the 'Direction' in critical analysis of the ongoing programme. One felt a drilling of eyes! They missed absolutely nothing.
The 1970 season started (after the build up) with 'The Direction' seated in the front box and with the total number of acts, artistes and key personal seated around the ring fence facing them. Each person or persons were then allocated one set job for the season so that every other person seated there would also know what it would be.
The large Francescos family were given the ring - setting and sawdust. One particular morning with the sun shining and all seemed cheerful I helped them with it, more for social reasons than any other but I was subsequently summoned to the front office to be told by David Smart that I must not do this again as this was not part of my engagement!
To practice a better act
The choice of Billy Smarts to accomplish this aim proved a wise one. After around 11 am the day might be clear for practice and with so many of the best artistes in the world there, ideas and help would be put forward and good friendships made. For the first time I did not feel negative vibes from others.
The 1970 tenting programme consisted of the following acts:
Charles Illeneb's Magnificent Royal Bengal Tigers
Gwyn Owen (solo trapeze) with the Aerial Ballet (Note: Sanger's 1961 season)
Li Suang - Hair raising Chinese Devil dancer on the bouncing rope
Holiday with Horses - presented by Yasmine Smart and John Gindl
The fabulous Francescos (Italian clowning company)
The Magnificent Markus (German strong man)
The Scheherazade (Magic – Carpet fantasy - the cast)
Interval
The Mighty Hassani Troupe (of Arab Tumblers)
Phyllis Allan's Wonderful Troupe of Poodles
The Francescos
Billy Smarts troupe of Indian Elephants (numbering 15) presented by Billy Smart Junior
The Seven Sensational Flying Oscas
Legend of the Old Prairie - Wild West Spectacular
Grand Finale
Photo, left: I am seen on stilts in a purposeful advertising scene for the local press outside the Woolworth store in Paignton - sea side resort - Devon where we appeared in summer season 1971.
I managed a vast improvement on the roller boards and we put investment into good props and costumes. We had produced a good portfolio of photographs so by the season close we had bookings for the Festival Theatre in Paignton Devon, a quality pantomime staring Donald Peers (a very popular Variety stage and recording vocalist) and the same agency booked us for the following summer season (1971) in top hotels and cabarets around the Devonshire resorts. We had finally made it with a speciality act! It is certain that without our rewarding and very professional experience with Billy Smarts we would never have made it further than basic. The show closed in the autumn of 1972 but carried on for some years with annual television shows.
Sadly David Smart died this year on the 9th July 2007. He received major obituary notices in the national press but little that I could see in our trade papers – odd I thought. It was a very private funeral.
We did have about six weeks to fill prior to the summer season in June 1971 so we joined a very small but bright little circus being run by Hans Volgalbein, a Danish animal act trainer who toured the old Variety days with his famous Chimpanzee – Gilbert. This act was indeed the best of its kind and he worked the biggest of theatres including the London Palladium. At this time Gilbert was in retirement at a zoo. I remembered Gilbert from the early 1950s when he would be taken down a given passage to the stage and would bang the doors of the dressing rooms!
I remember the following humour. Hans would pester us daily to stay for the season but we would say that our summer contract was signed. One day he came to us with great excitement; 'Tommy – Sheila' he shouted. Gilbert is going to have a babee! Meaning that Gilbert had produced a little chimpanzee. I immediately said 'that's it; why not bring Gilbert to replace us?' To which he replied, in all seriousness 'I can't do that, Gilbert hates tenting!!
Life Diary, Part Seventeen
Photo, left: Sheila is seen here presenting her troupe of fantail pigeons - holiday camp circuit 1982.
I would suppose that unpredictable adversities make up a better story but from this time we tried very hard to avoid these experiences 'having learned a lot.'
Our career from this point followed a narrow pattern and much would sound the same but I will try and put various salient points that I do hope will be of interest that occurred until Sheila and I retired from the promotion of, what is usually termed, a 'Glamorous Presentation' or a 'Speciality Act with Style'. This happened at the close of 1987. Above all it has always been our philosophy to keep working if possible and adapt to given circumstances.
By the close of the summer season 1971 we were totally confident that our act was now good enough for the best of hotels and cabaret engagements and a lots then came in for the leading clubs in the north (that I had not played before) such as Batley Variety Club that engaged the top liners with our week there alongside PJ Proby. The better venues had fine bands and stage drapes and more than one dressing room!
Pantomimes were coming in well too for winter periods, usually Jack and the Beanstalk because I could supply the stilts for Giant and Sheila would perform as the Fairy apart from the Speciality Act.
For the summer of 1973 we were offered a lucrative and very long season to appear at five of the Billy Butlin's Holiday Centres along the west coast. Just to say that Billy Butlin, a Canadian showman, opened his first centre in the 1930s and this was used as a military establishment during the war. He then build many more afterwards to supply excellent facilities to the working classes, all inclusive with food, accommodation, sports and leisure – a great family time – at the lowest costs. Each of the centres would accommodate up to 8000 people each week and were packed until around 1975 when cheap 'sunshine' flights came in to Spain.
The booking agency was a good one and booked our speciality act for the evening cabaret show. The agency also knew about my roots of course and suggested a doubling of the salary if we would 'entertain the children' each afternoon – five days at five centres with two days off. The salary would be plus all the petrol over the season – free (we actually covered 1000 miles each week). Plus, free accommodation at each of the centres. I was a bit unsure of capabilities frankly.
The agency then said that they would team us up with another speciality act duo for the season that were excellent hand balancers and acrobatics (evening show) that would be willing to provide an equal input for the children's show each afternoon. So fate dictates again that the apple will not fall far from the tree and I was placed into the clowning requirement. Everything went very well and I was quite surprised that the four of us could manage a strong fun packed programme for the afternoons on the main ballroom floor, in the round.
We could not accept the next season (at different centres) as much as we would have liked, although it was hard work, because Sheila was then expecting and 1000 miles per week would not be helpful. However the idea occurred to me that this 'children's show' presentation would provide an easier stable income during this slack time.
Photo, right: Our mobile slapstick theatre structure that we toured. This photo was taken in 1980.
The south west of England has many beautiful and modest coastal resorts with great beaches and thousands of visitors but not so much entertainment. I arranged with various councils for us to hire some excellent facilities from them – town halls with stages even to present a show of children's entertainment. Just three or four shows each week proved a great success with time to spend on the beach ourselves.
At the start we presented a pleasing enough show but then grew quite good at it including more and more participations. We also worked hard on the development of comic patter, some very old stuff that was used by my grandfather. In fact we still do one routine that still inspires great laughter.
Initially I thought our then established act would bring in regular work but the facts were that few speciality acts could muster more than, say, 35 weeks each year with the rest vacant. We did better than average but the thought occurred to me that we could get the best of both worlds with 48 weeks a year one way or the other.
During a period of the winter 1975 – 1976 we went to Malta for a tour of hotels with the speciality act.
For the summer season of 1978 we accepted a 20 week tour of the Warner Holiday Centres situated on the Isle of White. This island is part of the southern County of Hampshire but is very tranquil and very enjoyable for holidays – a very large yachting fraternity. The island being only 30 miles long and 20 miles wide meant that the travelling was quite easy.
In 1981 we were contacted by a management partnership based in Blackpool called Trafford and Parnell who were actor managers and fine artistes. They promoted excellent summer shows and pantomimes. We felt at this time we had reached our zenith for Sheila was still just aged 30 and looked really good as most ladies do at that age! They placed us into Pantomime at the Southport Theatre for six weeks and the following summer we toured the large Pontin Holiday circuit on the east coast.
Trafford and Parnell supplied a great deal of work for us with two summer seasons in our adopted location where we are resident now. The last during 1987 when we then decided to give up the promotion of our speciality act as such and we started a modest children's entertainment agency able to supply all wants and needs (along with our own clown – circus show still being booked by council's in the north of England)
Too Many Props!
During the early 1980s we accepted a lengthy tour of night clubs in Israel with excellent salary plus free hotel etc. I mention this only for the story attached. The British agency told us that the club circuit management must have two acts. Well, as talented as we may have been we could not supply two acts but after thought I remembered that a certain comedy couple toured the northern clubs along with me in the early 1960s promoted a musical comedy act with cheeky patter. I realised that we could do something along the same lines being a musician of sorts. We soon put an act together and titled it 'Legs and Bacon'! In Israel they called us 'Reggle and Becker'!
Upon arrival there we worked the main central club (the other clubs were 'satellite' clubs around) we then met with the Manager who said; 'everything is fine but we can not use the balancing act, because you have too many props! 'So we will just use the comedy musical act for movement here is difficult with props because it is all via taxi'. So, our main act – the balancing - was stored for the whole run and they only booked the one act, after all, for the eight weeks. The clubs were packed with a very strong programme. They did not mind the English spoken and shared the humour. So, my mother was right after all, we finally had an act in a suitcase!
Photo, left: Our comedy patter and musical act that we devised for Israel in 1985. This is one promotional photo.
Life Diary, Part Eighteen
So I conclude this diary of happenings and challenges over a lifetime in show-business, the most unpredictable of all business?
I have always tried to put happiness or contentment above wealth but sometimes found neither at the same time! It is said that in our country today we have 'Europe's least happy children'. I can believe it. My life has been spent entertaining children a great deal, their interests mean a lot to me. I remember my happy 'childish' days when I was allowed to be a child. Our children now are constantly indoctrinated with vileness be it films video or television to the point of 'child abuse' in my view. One example this Christmas, large stores are stocking 'pole dancing kits' for under aged girls! Purity in thought produces contentment and innocence for a child is happiness.
Photo: This is the only photograph that I have of Harry Fossett, my grandfather and Robert's son, showing him in clown attire. The date is unknown but I would assume just prior to or about World War I. My grandparents ran a circus at that time quite well and the picture shows him within the ring door curtains.
What is circus?
I don't think I am qualified to answer that any more. I have not been in real contact with British tenting circus since 1970 and the great Billy Smarts and Britain has not seen the likes of such a show since. I see various shows from time to time that seem quite alien to 'the good old days' and I seem to recognise no-one or it. For a start the Big Tops do not look like the real thing, tents have taken strange shapes like a giant Bedouin design – one even had colours outside but black inside stifling jollity. Even the band – one could not count the number of musicians – was hidden in one corner in semi darkness whilst the constant sales wagon in the tent and next to it, was open all the time and well lit -to distraction. The musical score was dire. Again, traditional circus music for acts seems to be avoided only some bland unpleasant musak tape to welcome the house in and no music for the interval and no music for the house to leave with, the atmosphere of a railway terminus.
The new tents are of plastic PVC and smell strange. They hide the king poles that used to poke through the bell rings yet that used to be 'circus' and they seem to hate poles of any kind. Canvas is long gone. Animal shows are no more so sawdust has gone. All these odours would join with the smell of the grass and the hay and this smell was circus to me as a child. The current shows seem ashamed in some way to reflect the past glory. Circus in Britain today does not know either what it is supposed to be. It claims to be a ring show but most of the time can do without a ring and work a stage. The wonderful warmth that greeted the public by great showmen (be they small or large shows) has disappeared and they are like fast food restaurants with plastic chairs – for the quick turnover of the mass. The programmes are presented like fast food too, but with longer acts.
Of course the acts and talent (nearly all imported) are brilliant in the traditional way at times but shows have lost the art of how to sell the programme, or in some cases, how to put a programme together. One large show used a very slow but brilliant perch balancing act to close the programme, the act was quite fantastic but patrons were streaming out to catch a bus perhaps, filing past with eyes still looking up at the act. Acts come in and go out more like a cabaret presentation of individuals rather than a performance of a shows united cast. Acts are also too long with some doing 15 minutes; nothing was longer than eight minutes in the past. Audiences become board; many using the mobile phones to text, or to photograph the tiny screen instead of appreciating the larger version.
In the old days we had a constant contest between the small circus and the big circus who always tried to dispose of the former not caring that it would be the former who may produce the artistes of tomorrow. Now it is the thing they call 'new circus' pitching against 'old circus'. The former receiving state funding perhaps whist the government has imposed the most draconian site taxes on the latter. The number of good grounds to hire is now dismal so shows are staying for one week at places that warrant only two days. The former, reflecting our current age, seems to despise beauty or glamour found in the old costumes and presentation they prefer something out of a commune with strange combinations not appealing at all to the eye. Its clowns despise traditional make up (the word 'tradition' is frowned on) or even slapstick – ignoring the wish of the general public, for it is no longer PC. One 'clown' troupe was banned for a gag that contained eating each others brains! One might suppose they had done this before the show anyhow! The participants thought this alright for children but must not to slapstick each other. The quote at the time by its manager was 'we wish to re-demonise the clown!
One thing is still for sure, the general public are the same! They would love to see a real true great old circus of quality – they are waiting to see it happen but it is lost. The circus people I meet on occasions may not know what I am referring to because they have not had the joy of the old tenting – like Harry Coady. There used to be nothing to compare to arriving on a green meadow with bird song and the local dairy or farmer delivering the milk and eggs to the whole show, with bacon and eggs after the main poles were raised at leisure. To have small children welcome the show into the town and follow the wagons and help to build it up and to know the names of the ponies.
My mother passed away early in 1985, so I posted this tribute to her in the World's Fair newspaper that it kindly printed in the issue of 15th March 1985. I think it reflects closely the views above. - Tom Sandow
Nine decades of circus toil. This was the life of Caroline Fossett from horse to steam to motor with countless shows for countless people over countless miles, a lifetime in circus that was tradition without blueprint.
The greasepaint the tinsel the heartaches what do people know with their lives of security? This circus life of days when the only guarantee may be the applause and the laughter, its motivation is the ring and all that goes into it but all else will take president. What do people know when they pay their admission, what do people care? Why should they, why destroy the illusion, the mask of gloss and glamour for this is all the public want.
Why should the power of State put importance to the dream? Why should power have time for the function that produces no product other than joy?
This circus artiste, whose forebears were of those who started circus knew about its great days when the horse ruled and circus was fun, when the school would be closed for the day.
When the world was slower and the horse grazed freely and people had time for one another, of wooden seats and wooden wagons build with ease and the real brass band played in the parade, when ringmasters wore stiff collars and clowning was an art when patrons were king and values higher than automation.
She knew about poor circus, about today's takings for tomorrow's expenses and when the takings weren't there. She gave so much and took so little. She would feed the family before herself.
She lived circus and loved circus she was circus when circus was circus.
Photo:This is a studio posed photograph of my mother, Caroline Fossett, and the daughter of Harry. She is dressed in cowgirl wipes and ropes costume and her age would be about 20. The time would, again, be at the commence of World War I.
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Circus Historical Society, Inc. and Tom Sandow
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