Show World (June 1909)

THE SHOW WORLD 9 June E9, 1909. rHO IS THE BEST CLOWN IN CIRCUSDOM? “he discussion regarding the clown in circusdom con- 5 to occupy the attention She comedy creators of the us world. It was hoped that circus editor would be able [reach a conclusion regarding best clown with at least one t«ircus in time for this issue but the contribution of Frank PSlivers”) Oakley, who was last seen in the circus ring with the} Barnum show during the “Season of 1908, is so interesting and so important at this time that the major portion of the space devoted to clowning in H number is given to him. KThe best clown with the Bar¬ num & Bailey circus will posi¬ tively be announced in the next issue. The best clown with Other circuses will be announced in Succeeding issues, and when the ablest comedian of each in¬ dividual enterprise has been de- 1 cided upon the best clown in Wcusdom will be determined. In the meantime it is well for the friends of the various clowns being considered to in¬ terest themselves in making it certain that the circus editor is familiar with their strong points. Whether or not a clown works in the concert or in the regular circus performance is ^lortant since the method of tring out the “worth” of ivns as considered in these gcles has been settled upon is essential that every be given credit for his ability in different lines to ob¬ tain the result which is sought by: all circusdom. Origi. Perso Doub: Doub: FIGURES FOUND IN - THE NOTEBOOK OF \ THE CIRCUS EDITOR. [Compiled before definite in- [mation had been secured on loints and subject to mge.) HENRY STANTZ. ^Alic approval.30 Number of offerings. 5 Tginality .18 Konality . 9 Sibling in concert. — Sibling in circus. Total .53 ■ HARRY LA PEARL. Public approval.14 Number of offerings.15 ^pinality .15 teonality . 7 Sibling in concert.— fabling in circus.— Total .51 ■ KID KENNARD. Public approval.13 Number of offerings.10 Originality .13 l&rsonality . 9 ■Doubling in concert.— Doubling in circus.10 ■■Total .53 ■ ARTHUR BORELLA. Public approval.18 Number of offerings.17 Originality .14 jgsrsonality . 7 Doubling in concert. 5 ^Doubling in circus.— Total .61 JACK LANCASTER. Public approval.,16 Number of offerings.13 ’Originality .13 'Doubling in concert. 4 ^Doubling in circus.— Total . . .53 Frank (“Slivers”) Oakley Gives His Views on Clowning and Points Out What Should Be Considered in Reaching a Conclusion. BY FRANK (“SLIVERS”) OAKLEY. That the memory of my efforts while with circuses has brought about the request for my views regarding clowning, in connection with Mr. Meredith’s able articles, more than repays me for my twenty-five years of constant thought and attention to the business of clowning—the art of an ill-bred person; a boor.”— WEBSTER. “A professional buffoon in a patomime, circus or the like; in old plays a fool or rustic, buffoon, a Merry Andrew.”— . STANDARD. SYNONYMS —Fool, harle¬ quin, jester, joker, Merry An- providing comedy for those who at¬ tend circuses. Clowning is an art and a fine one. History shows that few men have attained that distinction which places their names along side of that of David Garrick, and he found it diffi¬ cult to fill the theater when clown pantomimes, with such men as Chris¬ topher Rich, Tony Denier, George L. Fox and Joey Grimaldi were in the hey-day of popularity. Of course these men were stage clowns, which is different from circus clowns, though to me the dissimilarity is not so great as it appears to writers gen¬ erally, for I contend that the art of clowning does not consist of running around the arena as fast as possible, or hallooing as loud as the strongest lungs will permit. The clown is as old as history. He has a pedigree. He has an evolution. He has grown like St. Valentine out of the semi-religious atmosphere of public festivals to what he is today. Any one who has seen twenty clowns in a dressing room, frantically chang¬ ing from one set of fool costumes to others equally monstrous, or who has seen them attempting to entertain a discerning public by making faces, shooting off a gun, brandishing a slap-stick, etc., is likely to conclude that the modern clown has fallen as low as the patron saint of penny As I grew into manhood I did not develop into a speedy runner, nor did my lungs show a disposition to expand sufficiently to roar louder than my fellows, so I decided to get away from that kind of clowning. I began to study out ways by which I could attract attention without physical exertion, to any great ex¬ tent, for I argue that when comedy becomes labor, the effect is lost. I developed into a quiet clown without voice or speed, as I am willing to This is the age of “lessness.” We have the wireless, the horseless and in the circus we have the speechless. The time when clowns could succeed with almanac jokes has gone and the entertainer must now be funny with¬ out saying anything amusing. The man today who wishes to make a serious vocation out of clowning must have a standing contract with a tin¬ smith, own a trained pig, or a comedy automobile, or be prepared to do any¬ thing from handling snakes to rival¬ ling a sword swallower. Of course the clown does not do these things literally for everything with him is a matter of burlesque which some¬ times necessitates a car load of props.i In the old days the Shakespearean clown was the whole thing in an en¬ tertainment. His poetic witticisms were the talk of the town and folks attended the circus to pick up new jokes and learn the latest play upon words. The vogue of the clown was tremendous at that time. In the days of Dan Rice a salary of $500 a week was not uncommon. But the big shows of today have made the speaking clown impossible. Their jokes could not be heard now¬ adays, so action has taken the place of speech. Instead of one clown there are forty and while no one can now command a salary equal to that of Dan Rice the combined expense of the circus is many times greater. As the speaking clown became im¬ possible it was a question with circus managers just how the public was to be amused during the interludes— how to provide the laughter which is so essential to a successful arenic Der¬ is now known as the “Sliver’s dress” and it met with favor with both the public and the profession. I have been told that some managers now require clowns to wear the “Sliver’s” costume until there are now few shows in which the dress is not found. Regarding my particular style of work, which has been considered worthy of notice in these articles, I might state that ball playing is our National game; that it has been played in circuses for many years, but was always presented by a number of clowns working together. I am the originator of the game of baseball played by a single clown and I have never given permission to any other comedian to use the same. In regard to Lon Moore I would state that I have never given any one BERLINER’S CHOICE. By L. T. Berliner. The most unique clown offer¬ ing was the take-off on the Roosevelt hunting trip. The giraffe, lion, monkey, black man and the Teddy each deserve favorable mention. The old lady at the entrance (Henry Stantz) was another clown who is an artist. These two numbers are the oest of the Barnum clown features. FRANK (“SLIVERS”) OAKLEY formance, especially as far as the children are concerned. Pantomime, pure and simple, as practiced in the Christmas spectacles of “Humpty Dumpty” would not do as there was not a sufficient variety of it. The long suffering public would not sub¬ mit to being entertained by forty clowns all attired just alike so new makeups became .essential. Little comedies, in which several clowns participated, presented simul¬ taneously at various points in the rings and on the hippodrome track, were the outcome of this speculation. I found episodes in real life, suf¬ ficiently entertaining to amuse me and I learned that when presented intelli¬ gently they would amuse others. _ I attribute my success to my origin¬ ality. The clown’s entrance is an¬ nounced by his particular style of dress so if his costume is unusual, one will generally find that his com¬ edy is original. Early in my career I adopted what the privilege of using my ideas, to perform an act which is universally associated with the name of “Sliver’s” and on which my reputation largely rests. In determining the best circus clown compare their ability as fun- makers. Don’t judge a clown by the amount of' noise he makes nor by the smoke arising from a blast he ignites, nor by the discommoding of many people for the amusement of the few who enjoy the embarassment of others, nor bv his rushing up into the seats and forcibly adjusting him¬ self by the side of a timid maiden nor by embarassing sensitive natures by forcing himself on couples who enter the circus tent from the menag¬ erie nor by anything which causes merriment at the expense of the pat¬ rons of the enterprise. Clowns should be judged from a fun-making standpoint, for a real and lasting en¬ joyment of clown antics should carry no remembrance of fear, embarass¬ ment, unclean suggestion nor injury to sight or hearing. If these few suggestions will aid the circus editor in determining the best clown now in circusdom I shall feel gratified to have assisted in the bestowal of an honor to the most worthy man in the profession in which I have labored for many years before quitting the sawdust ring for the vaudeville stage and thus eliminating myself from consideration in connec¬ tion with this series of articles, the importance of which can hardly be over-estimated by the circus world. HORACE WEBB’S RECORD. Seasons. 1896-7-8—Sig Sautelle’s one ring circus. 1899 — Walter L. Main’s circus. 1900— Winter season with Circo Pubillones, Havana, Cuba. 1900-01—Great Wallace show. 1903- 3—John Robinson show. 1904— Winter season with Ed¬ ward Shipp’s Indoor circus. 1904-5— Ringling Brother s’ show. 1906— Carl Hagenbeck show. 1907— Opened with Hagenbeck- Wallace, finished with Cole Brothers. 1908— Opened with Norris & Rowe, finished with Barnum & Bailey. 1909— Barnum & Bailey show.